Who? Me? |
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“I am a necessary part of an important search to which there is no end.” |
GG Green born in Philadelphia with German and English parents and spending most of his childhood in the Chicago area, before moving to Munich, Germany in 1977, has always been in a gray zone between three similar but distinctly differing cultures. One could say that GG Green is a Mid-Atlantic-Schizophrenic. At 14 years of age, the discovery technology in the form of old vacuum tube radios, programming multi-room sized computers, and at the same time photography as form visual communication and expression, has given him a deep and fundamental fascination in how communication works on many differing levels.
After leaving school, GG Green trained as photographer in a German apprenticeship program and then spent a couple of years at the University of Maryland, where he studied a mixture of German literature and art history.
Thereafter he worked on many audio-visual projects, using techniques which at that time were often termed Multi-Media. These involved the use of many slide projectors and other technologies to create images which while based on still photography created a multiplicity of imagery, movement and broke with temporal singularity of a classical photographic image. During the 1984 Fotokina, GG Green was introduced to the prototype of the first video-wall split system. While orchestrating slide projectors allowed the entry to the twilight zone between still imagery and film, this new video-wall opened a second door, this time from the motion side.
GG Green, within a small group of photographers, programers and other artists, worked with the above technologies as a photographer and conceptualist for the advertising industry, self-presentations for various organizations, television game-shows, etc. Two highlights from this period are Vier Gegen Willi, a German TV show, and the work done for Olympic Museum in Lausanne. The other work GG Green was involved with during these years, included game development for various TV shows, creating early forms of interactive television, editorial work for RockTL (a music TV magazine format) and, in the early ‘90s, the development of concepts concerned with the use virtual reality within a classical television environment. In late ‘90s, he was part of teams involved in website design and implementation for, among others, the Typografische Gesellschaft München and the Münchener Volkstheater.
With turn of the century, GG Green turned back to television, this time mostly involved with use of 3D real time rendering systems to create television graphics in live shows and more importantly the use of this technology to create so called virtual and partially virtual studios. This involved programming work for sport shows, the transmission of live events, virtual studios for the Salt Lake City Winter Olympic games, etc.
Also during this period, GG Green made the great mistake of purchasing an iPhone.
Having a smart phone with an available camera with him at all times lead to a rediscovery of photography. A form of photography which is freed of many of the shackles of analogue film, while at the same imposing new restrictions.
The iPhone allowed GG Green to record and document works of Accidental Art, “works” unintentionally created one or many unknown individuals and their environment. These are works of art which lie idle and only become art when they recognized as such and awoken by changing their context. Art which only become art when one starts to see and not just look, and to listen to their whispering to one’s subconscious. The essence of GG Green’s Accidental Art is, to mis-quote Andy Warhol, If you don't see a thing, it loses all of its meaning, or, in the words of Hugo Ball, “Wir kennen jeden, nur uns selbst kaum” (We know everyone but hardly know our own selves).