GREGORY GREEN Home pageNext page

10.000 doses (LSD) -1994- 118x60x90cm
10.000 doses (LSD) [1994]
Since the mid-1980’s Gregory Green has created artworks and performances exploring the evolution of empowerment, which consider the use of violence, alternatives to violence and the accessibility to information and technology as vehicles for social or political change.
Suitecase Bomb #28 -1994- 15x55x32cm
Suitecase Bomb #28 [1994]

Many of Green’s artistic investigations have focused on terrorism and the possibilities for sabotage of the physical infrastructure, and the ease in which individuals, armed with readily available information, can endanger the status quo.

One work suggests how to manufacture large quantities of LSD as a form of civil disruption (an idea originally proposed by Yippee radical, Abby Hoffman), and resulted in the 1995 arrest and brief jailing of Feigen gallery director, Lance Kinz. Green thoroughly researched and produced a series of book, pipe, suitcase and nuclear bomb sculptures.He also created several guideable missiles that could be armed with conventional or nuclear devices. These artworks, although containing no explosives, are otherwise carefully designed to be mechanically complete and potentially functional. Fascinatingly beautiful, the threat of these works lies in their illustration of society’s negligence in discounting the hazards presented by the outcast, the eccentric, the individual. The most publicised (and perhaps misunderstood) of Green’s "bomb" works, particularly the "nuclear devices", dangerously demonstrate this reality.
Nuclear Device #2 -1996- 122x140x272cm
Nuclear Device #2 [1996]

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Believing in passivism and organised non-participation as the ultimate forms of empowerment, Green predicts that individuals and groups will increasingly employ alternative strategies in attempting to establish new social systems. His work can be read as a thesis on the success or failure of resistance to established orders and societal mores. Referencing historical precedents and disturbingly anticipating various current events, Green’s provocative works blur the boundaries between art and activism, culture and social commentary.

Green’s earliest artworks specifically address the spectacle, psychology and aesthetics of violence and danger: from his documentation of calling cards used by inner-city gangs to a series of performances in which men in crudely made wooden armour engaged in fierce hand-to-hand battles, or his rotating saw blade sculptures, which literally endanger the norms of gallery viewing.