Alan
Green

Green’s approach to art was deeply influenced by his early exposure to Japanese craft traditions, particularly through his visit to Shoji Hamada’s studio during his military posting in 1955. Hamada’s philosophy of integrating life and work left a lasting impression on Green, inspiring his meticulous craft-based methods, such as grinding his own pigments and creating custom tools for marking his canvases. This emphasis on material and process lent a tactile richness to his work, aligning with the broader Process Art movement.

Green’s use of colour was far from harmonious; instead, he embraced “controlled and organised conflict” as a guiding principle in his art. His paintings juxtaposed textures, finishes, and tones to create visual tension, such as in Double Crimson Painting (1978), where glossy oil and matte tempera were placed in opposition. This tension, he believed, allowed each colour and form to assert its individuality, resulting in works that avoided resolution in favour of dynamic engagement.

Printmaking informed Green's painting practice, particularly in the later stages of his career. His 2002 exhibition at Annely Juda Fine Art demonstrated this integration, with handmade acetate discs bringing a sculptural dimension to his canvases. These works blurred the lines between printmaking and painting, showcasing Green’s evolution as an artist. The exhibition served as a culmination of his artistic career, with Green himself describing it as a satisfying closure to his life’s work.