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Donna Green wrestles with coils of stoneware, manipulating and prodding to create anthropomorphic gestural shapes that burst and stretch into space. Her physical experimentation challenges the properties of the clay, resulting in works that seem to be in a constant state of growth and transfiguration; heroically scaled urns undulate and drip with layer upon layer of glaze.
Green draws inspiration from the ancient Jomon ceramics of Japan and Chinese Han Dynasty storage jars, as well as Gonshi, the naturally occurring scholars’ rocks, and Baroque garden grottos.
Donna Green was born in Sydney, Australia, and earned a Bachelor of Arts in Industrial Design in 1984 from Sydney College of the Arts in New South Wales. In 1985, Green moved to New York and joined Industrial Design Magazine as one of its editors. She began working in clay in 1988, studying at Greenwich House Pottery and the New School in New York, and in 1997 at the National Art School, Sydney.
Green has participated in numerous workshops including “Fire Up,” 1995 with Janet Mansfield in Gulgong, New South Wales, working on-site with Danish artists Nina Hole and Jorgen Hansen, and “The Vessel as Metaphor” in 2018 with Tony Marsh at Anderson Ranch Arts Center, Snowmass, CO. In 2019, she was a Resident Artist at California State University Long Beach. Later that year, she undertook an Artist Fellowship at Greenwich House Pottery. Green has exhibited at Hostler Burrows, New York, NY and Los Angeles, CA; McClain Gallery, Houston, TX; Greenwich House Pottery, New York, NY; Utopia Art Sydney, Australia; SIZED Studio, Los Angeles, CA; and the Leiber Collection, East Hampton, NY. Her work is in the permanent collection of the Museum of Applied Arts and Sciences, Sydney, Australia. Green lives and works in New York.
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[…] Donna Green joined us to discuss her current show, At Last, No More, which is on view until February 24 at HB381 in New York. The title of the show comes from a poem by John O’Donohue, A Morning Offering. A friend gave a copy of the poem to Green, who pinned it to her wall and saw it daily. It was the final stanza of the poem, a yearning for the courage to finally follow the heart, that gave up the words for the title: […]
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