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The multicultural uniqueness and historical authenticity of Jonathan Green's paintings, prints, and constructions are skillfully extracted from his recollections of life among grandparents who raised him and other proud descendents of the rural African American community in South Carolina where he grew up. Collectively these works chronicle the vibrant lives of his extended family and neighbors who elected to live harmoniously with the land and each other. They affirm how nurturing and cohesive are the relationships and communities of the southern culture.

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In another piece, Dressing Up, the artist takes off on POP art opticalillusions as seen in the geometric design of the wallpaper in the painting. Hegoes even bolder by positioning one pattern against another, the little girl'sgreen and white polka-dot dress with the wallpaper. The images seen through themirror offer a sense of greater depth to the flat plane.


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The heart of this small town is its high school, which resides on the outer edge of the town where the green stops and the dry

As well as meeting customer demand, the move to low-impact interiors reflects hoteliers’ desire to cut operating costs, create healthy and productive places to stay and work, and pass rigorous standards in order to achieve accreditation from one of the internationally recognised “green” building certification schemes, such as BREEAM (the Building Research Establishment Environmental Assessment Method) or the US Building Council’s LEED (Leadership in Energy and Environmental Design).


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Jonathan Green's use of color has influenced other artists. Inspired by the strongdesign, vibrant colors and varied patters of Green's work, French fashiondesigned Patrick Aubert has created his spring 1990 collection around theGullah theme.

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In another family and community scene, the two parents of First Born are alldressed up in their Sunday best for their child's baptism. The large blanketdrapes easily over the father's lap and over his knees creating the focal pointof the painting. The young wife and mother cuddles close by, the vivid yellowof her hat and dress adding emphasis to the work. The couple is balanced by awoman to their left in a bright blue and white dress, while two other women, alittle girl and a doll add unifying elements to both sides of the pew. Thebaby's things are lovingly folded and arranged in a Gullah basket sitting on ahandsome floral-patterned rug. Funerals, like births are major occasions in theGullah community. The Passing of Eloise is a formal statement renderedsymmetrically in subdued hues. All of the pieces are in place as someone leansover the corpse to offer a farewell kiss. A minister as a column of mourner'spay their last respects oversees the bier, centered. The formally robed choirseems, symbolically at least, to parallel the band of angel that await the soul of Eloise on "the other side," for she is merely"passing over," Green painted The Passing of Eloise in tribute to hisbeloved grandmother.

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May 16 - July 31, 1999
" I Made This Jar.." The Life and Works of Enslaved African-AmericanPotter, Dave.
Exhibition includes 5 painting by Jonathan Green that support thetheme of the exhibition and the works of the potter, Dave.