AnnaBrooke Greene is an interdisciplinary artist living in Tallahassee, Florida where she is an Instructor and MFA Candidate at Florida State University and a recipient of the MFA award in 2022. She received her BFA from Georgia Southern University where she was awarded the Betty Foy Sanders Award and Pat Walker Award. Her sculptural assemblages and wall works intimately connect to ideas of the domestic space, memory, time, gender, and the body through materiality.
Greene has been exhibited regionally and nationally including her solo exhibitions, In the Garden at Wall Space in 2022 and Through the Looking Glass at Colquitt County Arts Center in 2018. Greene has been included in group exhibitions including Material Alchemy: Metal and Color at Athens Institute for Contemporary Art in 2022, Thresholds at Working Method Contemporary Gallery in 2021, and the Earth/Mother portfolio showcase from the SGCI 2020 conference, Puertographico. Greene’s work has been published through Superpresent Magazine (2022) and CelebrateWomnx845 (2020) and is in collection at the Zuckerman Museum of Art. Recent projects include ArtFields (2023) and her upcoming MFA graduating exhibition at MoFA in Tallahassee, FL.
My assemblage sculptural installations and wall works connect to ideas of the domestic space, memory, time, and the body through materiality. I identify found and personal domestic objects as poetic source materials that connect associations of gender, craft, and decoration as I draw on my personal relationship with the American South to explore the domestic space as a constructed narrative. Through an exploration of materiality and memory, I investigate how this construction has functioned to uphold traditional roles of gender and craft identity.
Using found, discarded and personal, heirloom domestic objects, such as curtains, bedsheets, plate racks, and decorative hardware I manipulate and reform mixed charged materials in an active investigation of the space in which they come from and the memory and history they hold. I use labored processes including traditional women’s craft skills such as stitching, de-threading, and yarn wrapping alongside glue washing and metalworking to give the source materials new form. I aim to show how the loss of function and alteration of physical structure unearths an unusual presence of the materials, offering uncanny echoes of what they once were. These explorations weave together my own memories of the home, along with southern cultural references, to examine the infrastructure of the domestic space and call into contemplation the phenomenologies of the objects that reside in them.