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Paul Greene

Paul Greene

Paul Greene

3D exhibitions

  • Paul Greene

    Schematic /City

    08 Sep 2019 – 30 Dec 2022

    “ For those who pass it without entering, the city is one thing; it is another for those who are trapped by it and never leave. There is the city where you arrive for the first time; and there is another city which you leave never to return. Each deserves a different name….” Italo Calvino, Invisible Cities. Cities are planned and accidental. Design co-exists with something close to chaos. There are the solid plans for streets, freeways, parks and utilities. There are clear plans for the subterranean city. Ambitious plans for the buildings themselves. Yet more plans/schematics for the devices and products within all those structures. Devices to regulate our comfort and our needs. Mechanising our desires, calibrating our aspirations. So architects’ plans transmute and transmigrate into places to work; to be entertained, to haunt, to sleep, to get cured, to eat, to learn, to raise a family possibly, and, inevitably, to die. There are spaces defining the human processes taking place within, and other buildings refined by the activities of their occupants over time. The chaos is interesting too. Shadowing and stalking all this planning are the unforeseen aspects of the city. The inadvertent and incidental, the accidental and even disastrous. The space beneath the bypass, the vacant lot, that gap between the wall and the disused kiosk where the weeds live, the burnt-out building. The legion of the unintended, the inveigled, the interposed: all smudges on the pristine blueprint. Graffiti, vandalism, the broken window, the broken life. Other unplanned gestures and interventions. Irrepressible flora and fauna too, often microscopic. Day and night. Arriving and departing. No timescale, no rhyme nor reason. Acts of God. Cities are always on their way to being something else. Within the eternally moving moment, Greene’s work in Schematic City explores that sense of mutation or migration. “A migrational or metaphorical city thus slips into the clear text of the planned and readable city.” Michel De Certeau, “ Walking in the City.” Greene uses 3d software to generate all the source material for the Schematic City series. Multiple images are then coalesced and composited in Photoshop. No photographs are used. A key tool blends plan and perspective projection views on the same picture plane. Greene also mixes daylight and artificial light and, crucially, combines the literal and the schematic in novel ways. Day combines with night, multiple vanishing points and varying perspectives collapse the experiences of a city into a series of single arresting moments. This is not necessarily the way we experience a city but it is certainly the way we remember it. Paul Greene

  • Paul Greene

    Station

    15 Sep 2019 – 15 Sep 2022

    Greene’s St Pancras series is a subtle and atmospheric evocation of a famous London landmark and also a paean to the process of travel. The project began just after the refurbishment of St Pancras in 2007 and was completed last year. Dozens of images have been composited/montaged. This technique helps capture not just the soaring physicality of this special place, but also helps to deconstruct the sense of what a journey represents. All journeys are a combination of the experiential and the recollected—including folk memories and fake memories. Journeys also contain a sense of both temporal and visual fracture and dislocation. The St Pancras series employs montage to describe and contain these conflicts. In their limited colour palettes, soaring scale, and geometric discontinuities, the series resembles somewhat Piranesi’s Imaginary Prisons sequence of etchings, completed in the 1750s. Both share an interest in ‘imposssible geometries’. Piranesi’s images are based on a combination of contemporary and classical paradigms. Greene uses what is there to honour what is not so readily apparent: the tensions and the hopes and fears and dreams underpinning all the journeys we must make. The point of embarkation, the place of arrival, and the emotional process that threads these two points together, turns St Pancras into a potent metaphor for travel, whether literal or emblematic.

    latest works

    • Paul Greene

      St Pancras 16, 2017
      64 x 120 x 2 cm (h x w x d)
      Abstract
    • Paul Greene

      St Pancras 15, 2017
      95 x 57.6 x 2 cm (h x w x d)
      Abstract
    • Paul Greene

      St Pancras 14, 2017
      53.4 x 100 x 2 cm (h x w x d)
      Abstract
    • Paul Greene

      St Pancras 12, 2017
      66.8 x 130 x 2 cm (h x w x d)
      Abstract
    • Paul Greene

      St Pancras 11, 2017
      50.6 x 90 x 2 cm (h x w x d)
      Abstract
    • Paul Greene

      St Pancras 9, 2017
      60.6 x 110 x 2 cm (h x w x d)
      Abstract
    • Paul Greene

      St Pancras 8, 2017
      85.3 x 160 x 2 cm (h x w x d)
      abtract
    • Paul Greene

      St Pancras 7, 2017
      140 x 80 x 2 cm (h x w x d)
      Abstract
    • Paul Greene

      St Pancras 6, 2017
      72.9 x 125 x 2 cm (h x w x d)
      abstact
    • Paul Greene

      St Pancras 5, 2017
      91.4 x 160 x 2 cm (h x w x d)
      Abstract
    • Paul Greene

      St Pancras 3, 2017
      130 x 86.7 x 2 cm (h x w x d)
      Abstract
    • Paul Greene

      St Pancras 2, 2017
      76.4 x 114.6 x 1 cm (h x w x d)
      Abstract
    • Paul Greene

      St Pancras 1, 2017
      83.4 x 135.4 x 1 cm (h x w x d)
      Digital
    • Paul Greene

      summer 3.59 pm, 2015-2019
      44.9 x 125 x 2 cm (h x w x d)
      Digital
    • Paul Greene

      Spring 4.04 am, 2015-2019
      115.5 x 74 x 2 cm (h x w x d)
      Digital
    • Paul Greene

      Autumn 6.17 pm, 2015-2019
      173.7 x 90 x 2 cm (h x w x d)
      Digital
    • Paul Greene

      Spring 10.47 pm, 2105-2019
      51.4 x 102.8 x 2 cm (h x w x d)
      Digital
    • Paul Greene

      Winter 6.22 pm, 2015-2019
      71.9 x 110 x 2 cm (h x w x d)
      Digital
    • Paul Greene

      Spring 2.02, 2015-2019
      120 x 83.4 x 2 cm (h x w x d)
      Digital
    • Paul Greene

      Autumn Midnight, 2015-2019
      45 x 90 x 2 cm (h x w x d)
      Digital
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