Architecture provides a foundation of sorts for the interdisciplinary work of Madison, WI-based artist Conner Green. The blueprints in Daziados, window-like quality of All that meat and no potatoes, and the fence pickets transformed into charcoal utensils in Bite the pitch and JibJab, all point to a strong sense of plan, support, and containment. The blueprints, though, don't provide specifications and do not show a project to be completed -- they are the project. Nor do the pickets of the fence any longer prevent erosion; instead they are given the task of creating the movement -- marking the change rather than preventing it.
Green grasps the important tension of support -- just enough to hold things in place, but not so much that the support overwhelms what it is supporting. Blueprint for a Banner for a Blueprint is an example of this, interestingly using slender cylinders to hold up giant abstracted blueprints -- skinny and wobbly enough that we imagine they might just roll away and the blueprints would crunch to the ground. Although in an architectural sense unsound, they provide three-dimensional weight to the prints, pulling them out inside our space, making us look around their supports, like an inverted backside of a drive-in movie theatre screen. While the cylinders hold up the blueprints, we're also hampered by their presence a little bit; we never get the full picture.
It's exactly that bit of purposeful, playful hampering of our entire view of many of the pieces that drew me to Green's work to begin with. In All that meat and no potatoes, we're presented with a window-like frame, or perhaps a display case with trophies lined up inside, however the glass is textured and frosted and we're unable to make out who won them or what they were for. What happens to their meaning then?
Conner Green is a current MFA candidate at the University of Wisconsin-Madison. His MFA work will be exhibited April 17-24 at the Art Lofts. More information and images of work can be found at connergreen.net.