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Veronica Green (born 1984, Wellington, New Zealand) is a painter of Italian and Polish descent, currently living in Venice Italy. Green is recognised for her triple scene paintings.

Green studied at Massey University, Wellington and graduated in 2006 with a BFA (HONS). Since graduating Green has exhibited extensively in both solo and group shows as well as national and international art fairs.

In 2008 Green received an artist in residency at Spiazzi Gallery, Venice and was subsequently represented by Melori and Rosenburg Art Gallery, Venice. During this time Green explored themes around religion, symbolism and mythology inspired by her culturally rich heritage.

From 2009-2012, Green was represented exclusively by Movimento Arte Contemporanea Gallery, Milan, exhibiting in national solo exhibitions and group shows as well as major art fairs including MiArt and ArtVerona. During this time, Green began exploring new subject matter.

It was at this point in her career that Green commenced experimentations with phosphorescent paint combined with an investigation of the notion of duality manifested in her signature double scene paintings, and culminating in the solo exhibition, “L’Era delle Stelle” at Ego Gallery, Lugano in 2013.  This was the first time Green exhibited her phosphorescent paintings under Ultraviolet light and defined a first and second scene.

In 2015 Green held an Artist in Residence at 30 Upstairs Gallery, Wellington, with her exhibition “The Light is my Shadow.” In 2016 Green joined the stable of Van Rensburg Galleries, undertaking solo and group exhibitions in New York and Hong Kong, alongside a variety of international art fairs. Since then, Green has honed and developed her use of humour and positivity to explore the conflict within the freedom and identity of the “inner child”. 2020 saw Green’s practice evolve further with the exploration of a complex triple scene painting technique initiated during her Artist in Residence at the Chateau d’Orquevaux,

France.

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In 2022 Green presented her triple scene paintings at her exhibition entitled “ 10 Minute Windows,” during the Venice Biennale at Biennale Spaces. This defining exhibition tied in not only light and the absence of but examined a combination of themes including the Anthropocene Epoch, the PAC model and the pandemic. Green, one of the many female artist exhibiting in 2022 addresses the Venice Biennale theme "The Milk of Dreams," with a message of hope and positive change. In 2023 Green presents at Mudac, Lausanne in the exhibition 'Space is the Place.'

I make art as a means of maintaining and nurturing my own personal well being. The meditative act of painting allows a temporary escape from reality, thereby igniting introspective cognitive though processes; an inner reflection if you will. Revelling in an inimitable silence that allows me to fell like I'm completely myself without the burden or weight of self-doubt. It's an opportunity for the subconscious to speak uncensored and without interruption- no bad ideas, no right or wrong, but a safe haven where mistakes do not exist. It is through this process that I am able to respond honestly and intuitively to other aspects of my life.

Throughout my career I have discovered multiple sources of inspiration which have informed my work; travel, difference, the new. Naturally, I have also been inspired by many artists and certain aspects of their artwork, drawing inspiration from the variety of techniques and materials used - the overall effect of which has helped me to grow as an artist. The work “Faust” by Anna Inhof created for the German pavilion of the Venice Biennale in 2017 deeply resonated with me and increased my awareness of the social engagement needed to create a great work of art. I also remain intrigued by the work of James Turrel, Yayoi Kusama, Marina Abramovic as well as children’s books.

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Over the years, there have been major developments in my work, the most significant being from 2008 where architectural dream-like landscapes saw the introduction of figurative elements and the prominence of collage in 2009. 2012 is when I began experimenting with phosphorescent paint and subsequently incorporating it into my practice as a staple medium. In 2013 the double scene was formally introduced, in 2020 black paintings and the ‘Limitless series’ saw the third scene of my works become central. Perhaps not surprisingly, each of these periods marked tumultuous events in my private life.

I would say that, ultimately, my practice reveals my general attitude to life; take what is thrown at you with a sense of romance, humour and levity. I believe that art serves multiple purposes but the most important should be that of creating an irreversible, positive impression on the viewer.

I would like my audience to walk away with a feeling of wonder and nostalgia, awakening their inner child. I invite my observers to take a dip into the world I have created and, if nothing else, to experience a humorous and inspirational moment that reminds us we are doing great outside of the confines of the canvas.

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