David Green: Revisiting yesterday arriving tomorrow: Catalogue essay - From the Eyes of Aeroplanes

Neill Overton

    Research output: Textual Creative WorksCreative Works Original - Textual


    This catalogue essay contextualises David Green's art and design work from 1997 through to recent series of works in 2017. It is resourced from two essential collections of holdings of David Green's works - one from the 1995-98 period of his paintings and drawings held by the Charles Sturt University (CSU) archive, and the recent body of illustrative large-scale drawings undertaken by the artist essentially between 2012 to 2017. "There are, I believe, throughout David Green’s drawings here the littered shadows of all his early childhood sensory impressions that drove him to be such a visually receptive, iconoclastic textile designer, painter, and above all visual thinker. He draws not only to understand an object or motif, but to understand himself… poppies, white crosses, floating trees, a Hitler teddy bear, darting fish, alignments of eyes… reappear like exuberant ghosts in his works from the 1960s to now. Albeit in a studied botanical drawing or of a trout from 1967, to these long abstract jostlings of images. It is a Surrealist palette floating up unbidden from his subconscious, and like Paul Klee as an artist David Green inhabits this no man’s land, or rather a nexus between art and design – empowered by respective aesthetics. This room of artworks is a hellishly convincing visual argument for the immediacy and direct voice of indian ink drawing." - Neill Overton, Sept 2017.

    The impact of David Green's art and design work has been to restore the versatility of "drawing to design" as a focus on insightful, detailed observational botanical and other studies towards larger drawn and painterly outcomes. It has impact in the current field of contemporary art in reflecting upon the types and scope of drawing and design, from his beginnings as an artist in Britain through the developmental study period of his work steeped in the Royal College of Art of the early 1960s, and their then emphasis on cross-disciplinary design thinking - through to the revitalisation of contemporary observational drawing underpinning his current arts practice, emanating from regional Australia throughout the 1980s to 2009, and from there to works produced in Queensland. His work has identified impact upon both British and Australian art tropes, in its determined landscapist surrealisms.
    Original languageEnglish
    TypeCatalogue essay writing
    PublisherWagga Wagga Art Gallery
    Number of pages8
    Place of PublicationWagga Wagga Art gallery
    Publication statusPublished - 2017


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