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Christopher P Green

@christopherpgreen

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artist & painter

Books & Multiples: @4one4two

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Last week I was invited to Falmouth University to give a talk about my work. Alongside this I exhibited some works: 8 paintings (2015-2026), my book ‘Professional Salad: Vol.1’ presented as a slideshow, and one of my ‘R. Crudd’ benches, in their Goldfish Bowl Gallery.

It’s often assumed, when I meet and speak with people for the first time, that I teach. Truth is, I’ve only ever done a very small amount of this, formally/officially (ie. being paid). I’ve had an unconventional route into doing what I do, and perhaps this doesn’t sit well with the rigidity of academic institution’s recruitment policies.

It’s nice when I do get invited, and I enjoy speaking with students and hearing what they’re into and working on. So, thank you Jonty Lees and Oliver Thomas-Irvine for the invite on this occasion.

Times are tough, and we’re constantly under pressure to adapt and figure out workarounds. Education systems have to be open and adaptive too. There is no singular route, no fixed formula. Life, and art, and therefore a life ‘in’ art is messy. For most of us, this is unavoidable.

I started showing my work in 2006, and since, I’ve taken myself down many wormholes of self-initiated study and practice including graphic design, sculpture, establishing a few project spaces, painting, building and running an independent art library, curating exhibitions, self-publishing, publishing works by others, carpentry, cabinet making, architecture and exhibition design, and art practices of the past and present.

This is the final weekend to see the show. The gallery space at Falmouth University’s Woodlane campus, Falmouth TR11 4RH, will be open Saturday 10th October only. @falmouthfineart @falmouthuni

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Just over a week left to catch ’10 Good Years’, curated by Joe Lyward at The Heong Gallery, Cambridge UK.

Here are some photos of the very smart, and comprehensive catalogue that’s been put together for the show, including a wonderfully insightful text by Rachel Rose Smith, tying together the works and artists included in the show.

I’m an advocate for printed documentation of exhibitions; if you can’t make it to a show, you can experience it via a (good) catalogue, and this one, I think, provides that experience. Available from The Heong Gallery shop in person and online for just £12.

The exhibition marks 10th anniversary of The Heong Gallery, paying homage to its inaugural exhibition ‘Generation Painting 1955-65: British Art from the Collection of Sir Alan Bowness’. Ten Good Years re-shows selected works from this collection, and introduces new works produced over the past ten years by artists with connections to West Penwith, Cornwall.

The show includes works by Wilhelmina Barns-Graham, Simon Bayliss, Alan Davie, Pam Evelyn, Terry Frost, Christopher P. Green, Patrick Heron, Realf Heygate, Lubaina Himid, Peter Lanyon, Janet Leach, Siobhan McLaughlin, Richard Smith, Lucy Stein, Mark Tobey, Jonathan Micheal Ray, Ro Robertson, and Veronica Ryan.

The exhibition runs until 11th October 2026.

The Heong Gallery Downing College, Cambridge, CB2 IDQ
https://www.dow.cam.ac.uk/creative-arts/heong-gallery/ten-good-years
@lywardian @heong_gallery

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Some installation photos of my painting ‘Fensterladen (Blood Orange/Pink w.White) - S-chanf/22’ which is included in the exhibition ’10 Good Years’, curated by Joe Lyward (@lywardian) at The Heong Gallery (@heong_gallery) , Cambridge UK.

Here you see it hanging alongside a work by my friend Ro Robertson, and a work by Peter Lanyon. Joe chose this specific work of mine for its connection to both Richard Smith and Patrick Heron; on many occasions preceding the shows inception we had spoken about our shared appreciation for both these artist’s works and practices. I had the pleasure of working with the ever-attentive Joe on a show last year at @_hweg_ , the gallery he runs in Penzance.

The exhibition marks the 10th anniversary of The Heong Gallery, paying homage to its inaugural exhibition ‘Generation Painting 1955-65: British Art from the Collection of Sir Alan Bowness’. Ten Good Years re-shows selected works from this collection, and introduces new works produced over the past ten years by artists with connections to West Penwith, Cornwall.

The show includes works by Wilhelmina Barns-Graham, Simon Bayliss, Alan Davie, Pam Evelyn, Terry Frost, Christopher P. Green, Patrick Heron, Realf Heygate, Lubaina Himid, Peter Lanyon, Janet Leach, Siobhan McLaughlin, Richard Smith, Lucy Stein, Mark Tobey, Jonathan Micheal Ray, Ro Robertson, and Veronica Ryan.

The exhibition runs until 11th October 2026.

The Heong Gallery Downing College, Cambridge, CB2 IDQ
https://www.dow.cam.ac.uk/creative-arts/heong-gallery/ten-good-years

Photos courtesy @jounderhill for @heong_gallery

More to follow.

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Delighted to be showing in the exhibition 'Ten Good Years' curated by Joe Lyward, opening this week at Heong Gallery, Cambridge.

Ten Good Years celebrates the gallery’s anniversary by paying homage to its inaugural exhibition 'Generation Painting 1955–65: British Art from the Collection of Sir Alan Bowness'. This exhibition showcased works from the collection of Bowness, a former Director of the Tate Gallery and a Downing College alumnus. Ten Good Years re-shows selected works from this collection by significant mid-twentieth-century artists such as Peter Lanyon, Patrick Heron, and Wilhelmina Barns-Graham, and introduces new works produced over the past ten years by artists with connections to West Penwith, Cornwall.

Ten Good Years features work by Wilhelmina Barns-Graham, Simon Bayliss, Alan Davie, Pam Evelyn, Terry Frost, Christopher P. Green, Patrick Heron, Realf Heygate, Lubaina Himid, Peter Lanyon, Janet Leach, Siobhan McLaughlin, Richard Smith, Lucy Stein, Mark Tobey, Jonathan Micheal Ray, Ro Robertson, and Veronica Ryan.

In conjunction with the exhibition, other work from Bowness’s collection will be shown at Cambridge’s other major galleries: William Scott at Kettle’s Yard and Roger Hilton at The Fitzwilliam Museum.

TEN GOOD YEARS
29 MAY 2026 - 11 OCTOBER 2026

THE HEONG GALLERY
DOWNING COLLEGE CAMBRIDGE, CB2 IDQ
OPEN WEDNESDAY TO SUNDAY 12PM - 5PM

@heong_gallery @lywardian @kettlesyard @fitzmuseum_uk

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Sometimes, when works go off into the world, leaving the studio to have their own life, all that remains is a photo. I’ve always taken photographic records of the details - sides, and tops mostly, as they’re important to me. Often there’s as much going on there as there is on the front. This work, from a family born around 2013-2015 (but continuing, as things can), has the gesso painted last, as a top coat.
 Untitled 2015 Gesso, acrylic, modelling paste, printed paper on birch panel 40 x 30 cm Private collection, Spain

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Thanks to everyone who came to our Book(s) Launch on Saturday. Such a lovely turnout 😊 Our Spring 2023 publications and editions are now available for sale in the new online shop (link in bio). Thanks to all the artists involved: @fergusfeehily @kerstijanwerdal @danielsturgis.studio @giacomo_mercuriali @sofiastevi @christopherpgreen @charlie_godet_thomas @futurifico @ihomerston And to @cultivatorcornwall for their support. #cornwall #artistbooks #penzance

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Something I’ve been working on for the past few months.. 📚👨🏻‍💻📚 All of these artist books are now available from @4one4two Edition of 30 copies each. Also, there will be a book(s) launch at 41/42 on Saturday 3 June. Come along! #artbooks #zines #smallpress

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Following my previous post, here is an installation view of:

Fensterladen (Cobalty Blue/Yellow w.White) - S-chanf/22
2022
Acrylic and gesso on birch panel
114 x 5.5 x 1.8 cm

These are part of an ongoing exploration of the Fensterladen (German for ‘Shutter’).

I predominantly paint on wooden panels, and the stretched format of these works came about as a matter of circumstance; material bi-products of cabinet-making worked into paintings and feeding back into the world, occupying an in-between space.

This work is included in ’Young and Restless’, a group exhibition of works by:

@adrianschachter @mariobaldassarremario @christopherpgreen #emiliaauersperg @emily_kraus_ @giannadispenza #patricksalutt #sararahmanian @sigveknutson @veraklimentyeva @yvesscherer

at TheStable
S’Chanf, Switzerland
@the_stable_world

On view until 19 February 2023

@christopherpgreen #christopherpgreen 🇨🇭🇨🇭🇨🇭

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Fensterladen (Cobalty Blue/Yellow w.White) - S-chanf/22
2022
Acrylic and gesso on birch panel
114 x 5.5 x 1.8 cm

These are part of an ongoing exploration of the Fensterladen (German for ‘Shutter’).

I predominantly paint on wooden panels, and the stretched format of these works came about as a matter of circumstance; material bi-products of cabinet-making worked into paintings and feeding back into the world, occupying an in-between space.

This work is included in ’Young and Restless’, a group exhibition of works by:

@adrianschachter @mariobaldassarremario @christopherpgreen #emiliaauersperg @emily_kraus_ @giannadispenza #patricksalutt #sararahmanian @sigveknutson @veraklimentyeva @yvesscherer

at TheStable
S’Chanf, Switzerland
@the_stable_world

On view until 19 February 2023

@christopherpgreen #christopherpgreen

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“‘Riparo’ (2021), a neon scaled-up micro drawing of a smiling crab. Green started experimenting with neon during his 2018 exhibition Vitreous Humour at ALMA ZEVI Venice, where a drawing of a flying figure, ‘Mosca Volante’, was transformed into a neon sculpture. Crabs are recurring subjects in Green’s work; he began drawing these in the corners or margins of waste paper ten years ago.

‘When I think of neons I think about drawing. For me, neons possess an otherworldly, spiritual quality. The name ‘neon’ is derived from the Greek word ‘νέον’, singular form of νέος (neos), meaning new. Neon is also chemically inert; in a state of motionlessness. With this in mind, the ‘floating’, spirit-like figure becomes an apt characterisation of the reality of neon itself.’ Christopher P. Green, 2018

Native to the Cornish coast, the crustaceans can also be interpreted autobiographically; lone nomads, they dance from side to side rather than moving forwards in linear fashion, finding this sidelong gait more efficient when moving along the shoreline. Portraying a symbol of independence, they carry their own homes and are highly adaptable creatures, adjusting to different environments and climates. The translation of the Italian word Riparo is ‘place of shelter.’

The title of the exhibition, The Blue Mask, refers to Lou Reed’s iconic 1982 album, which Green began re-listening to when he moved out of London in 2018, setting up a studio near Penzance in Cornwall. The imagery of the album is evocative of this change of scenery with its vast expanses of sea and sky. Yet the influence of Green’s new territory on his practice also marks a conceptual departure from the more ubiquitous landscape painters that Cornwall has played host to.” #christopherpgreen @almazevi
~~~~~~~~~~~~~~~~~~
‘Christopher P. Green: The Blue Mask’ at ALMA ZEVI London is now open. Email london@almazevi.com to arrange a visit.

Photo: ‘Riparo’, neon, 40 x 60 cm (approx.), 2021

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My solo show ‘The Blue Mask’ at ALMA ZEVI London is now open.

Extract from press release: “The show brings together a new neon piece with six large-scale abstract paintings. This selection, all on display for the first time, reveals Green’s (b. 1983, Dorset) myriad of interests in music, nature and the unpredictability of time.

The title of the exhibition, The Blue Mask, refers to Lou Reed’s iconic 1982 album, which Green began re-listening to when he moved out of London in 2018, setting up a studio near Penzance in Cornwall. The imagery of the album is evocative of this change of scenery with its vast expanses of sea and sky. Yet the influence of Green’s new territory on his practice also marks a conceptual departure from the more ubiquitous landscape painters that Cornwall has played host to.” #christopherpgreen @almazevi ~~~~~~~~~~~~~~~~~~
Email london@almazevi.com to arrange a visit.

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Just received my copy of ’O Sole Mio’ in the post. Originally conceived as an online exhibition organised by @parasolunit , of works by a selection of contemporary artists and the wider artistic community in response to the Neapolitan song ‘O Sole Mio’, it is now available as a hardcopy publication, gathering together all 12 issues of the project. Published by @moussemagazine

With contributions from:

@adel_abdessemed @mariol.ina #DarrenAlmond #AliaAlSenussi @alineasmardamman @oliverbeerstudio @ranabegumstudio @veniceartfactory #sonjabraas @marcoacastillo.official @theaaroncezar @julian.charriere @studiodavidclaerbout @l_dovica @philippedavet @shezaddawood #LaylaDiba @anaelisaegreja @jeronimoelespe⁠ #adrianesparza @anabeatrizgallardo @ryanjgander #kategilmore @christopherpgreen @freewillsalad⁠ @wheninlazio @martinavonmeyenburg @lisa_milroy @robertmontgomeryghost @koushna_navabi #navidnuur @si_on_si_on #dominicpalfreyman⁠ #shivalynnburgos⁠ @oren_pinhassi @lpoddar @rackowe @eugeniorerebaudengo @christine.rebet @alixroche123 @isminisamanidou⁠ @aarsaam @katrinsigurdardottir @claudiasteinfels #rayyanetabet @canantolon @thanhthitran_ @sonnyvadgama @rw_telegram @whaleyrm @jakub_julian_ziolkowski @ardalanziba

If you wish to buy a copy, please email info@parasol-unit.org 🙏 #christopherpgreen

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