13 Questions for Phyllis Green

By Tracey Harnish   Wed, Feb 15, 2012

Phyllis Green was trained as a ceramic artist and while she uses that medium in unpredictable ways, she always creates installations that include video.  Her work has been shown internationally, at LACMA and MOCA, and last year a survey exhibition of her work was presented at Otis College of Art and Design.  Her practice is a combination of feminist politics and classic Modernist themes.

Did you draw when you were a kid/what age did you start?

All the time!  I can’t remember when I started because I can’t remember a time when I didn’t draw. I grew up drawing with pencil on white sheets of paper that I rested against the arm of the sofa in our living room.

What has been your biggest sacrifice for art?

Spare time! In my twenties, thirties and forties, I gave up job security and financial security so that I would have flexible work hours while I pursued my passion for being an artist.  I juggled three of four part time jobs at once for a lot of years. I don’t do that any longer, but I still don’t seem to have any spare time.

What artists that aren't dead, influence you?

The older I get, the more I admire artists who continue to be active and engaged with their work for twenty years or more.  Every once in a while, I see an exhibition that really excites me about the possibilities of being an artist.

What artists that aren't dead, really bug you?

Artists who talk a lot and produce little.

What do you listen to while you work?

Most consistently and over a long period of time, I listen to “All Things Considered” on KCRW late in the afternoon.  I began this listening habit in my studio downtown in the 1980’s. The talk on whatever subjects enhances my feeling of comfort and relief that I am working in my studio and not anywhere else.

What are you working on now?

I am “dressing” some figural forms I made in the fall.  This means that I am sewing garments for them, the last stage before they are completed.  When I was traveling in South India in December, I conceived of a new project involving a large-scale form and I am currently developing a plan for executing it.

What was the last show you saw?

Segalove+Duane+Mogul at Jancar Gallery in Chinatown.

What's the most indispensable item in your studio?

It’s a wood-handled narrow blade palette knife.  Even though I change media, I find a vital use for it on almost any every project.

What is it that is spurring ideas for your work these days?

My recent trip to India, our second in two years.

Do you collect anything?

Not earnestly. I suppose I collect exhibition catalogs, and when we travel, we always bring home a mask or two.

What are you reading right now?

I just finished Joan Mitchell, Lady Painter: A Life, which I carried on my recent trip. On my iPad I am reading Shantaram, a long novel, popular some years ago, that was recommended to me in India. The plot is a stretch and the writing is spotty, but it contains enough insights and observations regarding that fascinating country to keep me reading.

What do you like to do when you aren’t in the studio?

Talk to my friends or visit with them.

What's your favorite post-gallery meet up or restaurant?

I don’t have one. I have attended so many openings in my many years in Los Angeles that I no longer consider art viewing a social experience. If I do “meet up” after looking at art, the location depends on where the gallery is and who I am with. I like to sit down with a friend and a good cup of coffee.