"I believe paintings are not just pure creations; they are responses to my intuitive interactions with the world."
Heather's Instagram: @heathergreen.art
How and when did you know you wanted to be an artist?
The option that I could be an artist was never presented to me. My love for art was nurtured and inspired by my GCSE art teacher, Mr. Morris, who strived to create a space in which I was free to experiment, play, and push boundaries. With his encouragement, I secretly applied for a Foundation Degree in Fine Art and started my journey towards becoming an artist. At no point did I stop to think that this journey would, or even could end up with me becoming a professional artist! The fact that I am now an artist is something that still surprises me!
What was your experience of art school?
My BA Painting at UAL Wimbledon College of Art felt really special because it was so intimate; the courses and campus were small, and interaction with the other year groups and courses was encouraged. All the tutors, and technicians were absolutely fantastic and so generous with their time, resources, and guidance.
I originally joined MA Painting at RCA in 2019 but because of COVID and being made redundant, I took an extended leave of absence. When I rejoined in 2022, although RCA had changed for the worse, the cohort’s camaraderie and staff’s passion remained the same. I was fortunate to be allocated my first choice of core tutor for my second year, Milena Dragicevic. Milena urged me to identify elements within my work that I had previously disregarded, she constantly challenged me to research more specific aspects of my ideas, and generally just pushed me to become a better painter.
Can you tell us more about the ideas and inspiration behind your work?
In the period I inhabit as an artist, I have access to so much information and so many artists that the pool of influences and ideas I can draw from is so vast and deep. However, there are two key things that appear in every single painting at the moment. Wanting to resist the expectation of having a coherent body of marketable work to instead inhabit a space where play and spontaneity are nourishing and valued.
I also believe that painting is coloured by the metaphysical frameworks of emotion and information that affect the painter. Thus, one of my key sources of inspiration comes from reading the news. It offers me an escape from the occasional anxiety of painting by immersing myself in the world’s events, shifting my focus to other experiences, and stimulating new emotions that guide me back to painting.
Are there other artists or movements that have inspired your work?
I can trace it back to the Impressionists, whose deep understanding and sensitive use of colour seduced me, and colour still plays such a significant role in the joy I find in painting. There are also artists whose work I have always admired for their innovation, such as Fiona Rae, Wassily Kandinsky, and Helen Frankenthaler, who push the boundaries of what painting can achieve through their experimentation with material possibilities.
I am drawn to writers who examine the position of painting, what it means to be a painter, and the source of painting’s value in the contemporary art market and technological climate - I love reading essays/books that centre on these topics, and my collection includes works by Isabelle Graw, Griselda Pollock, Hito Steyerl, and Dave Beech among others.
Can you describe a typical day in the studio? How do you approach your work?
I know quite a few artists, so my day starts with a message in the group chat to find out who wants to grab a coffee when I inevitably hit the brick wall of frustration. I set the mood with a podcast or whatever music I’ve been listening to recently. I have never been a linear painter, so I like to have at least 4 or 5 paintings on the go at the same time. My process can be very energetic, involving a dance of mark-making. But sometimes it might look sluggish, where I sit and stare at a piece, not painting at all. If I start to fuss a piece it’s often because I’ve become too precious over a certain mark or texture, or the overall look of the work, which stops me from being able to move the work forwards. I find those moments incredibly sticky and I get sucked into hesitation which I find really frustrating, so this is usually when I will call in that coffee break!