Jon Greene


Philadelphia-born artist Jon Greene invents spaces and fabricates visual perspectives in his lithographic and woodblock printmaking practice. “I allow characteristically unpredictable and autonomous materials to consume portions of my work,” writes Greene. “Influenced by my technical training in art and architecture, I then disrupt these organic marks with clean, ridged structures. I aim to create moments of intervention on landscape.”


Jon Greene was trained as a professional printer at the Tamarind Institute in 2019, and has received numerous awards and fellowships from University of Iowa Graduate Program and Skidmore College. His work can also be found in the collections of The University of New Mexico Art Museum, the Bernard A. Zuckerman Museum of Art at Kennesaw State University, and the Fig Bilbao International Print Festival collection in Bilbao Spain. Currently, he serves as the president of the Iowa Print Group at University of Iowa, where he will be receiving his MFA in the spring of 2022.


Artist Statement:


Architectural and environmental boundaries define regions of empty space in the prints, drawings, and installations I create. Linear fragments of texture that impersonate natural surfaces make up walls, cliffs, and hedges. Each composition follows basic principles of two- and three-point perspectives, but spatial illusions and diversions distort structures into familiar, yet uneasy forms. The ambiguous sites that my works depict inspire the viewer to question where they are standing, and from what distance, height, and angle. The push and pull of flat and outcropped forms highlight how a person evaluates space.


These works prompt viewers to scrutinize and reassess the geometry around them, as the sites I create also occupy and inform their space. I transfer thin layers of ink from aluminum, plastic, limestone, and birch to accomplish this. The behaviors of these natural and human-made surfaces are revealed through the printing process. Skills obtained in professional printmaking allow me to shape and control the organic tendencies of these materials by using acids, solvents, and abrasion. The sites I create are a product of my fraught relationship with contained spaces and how natural and built environments can be sources of restriction and restoration.