Georganna Greene is an artist and educator, primarily working in painting. She earned her BFA from the University of Tennessee, Knoxville, and her MFA in Painting from Boston University in 2021. Her practice explores material language, perception, and the tension between human design and natural order, using abstraction as a means for deeper knowing.

Between degrees, Greene worked in galleries and retail while maintaining an active studio practice at Ground Floor Gallery + Studios. Her background in art handling at institutions like The Frist Art Museum, Cheekwood, and Cumberland Gallery informed her interest in curation, facilitation, and collaborative work. She has taught at Boston University, Tennessee State University, and most recently held a full-time faculty position in Studio Foundations at Lipscomb University, where she also developed a gallery internship through Open Gallery, a student-led project space in Nashville's Wedgewood-Houston neighborhood.

Greene attended the Vermont Studio Center residency in 2023 and has participated in panels, visiting talks, workshops, and lectures at institutions including Lipscomb University, Watkins College of Art, COOP Gallery, Red Arrow Gallery, Parthenon Museum, Western Kentucky University Fine Arts Center, and Tyler School of Art and Architecture (virtual). Her work was collected by the local boutique Vandyke Hotel among numerous private collections and has been featured in The Tennessean, Nashville Scene, and Native Magazine. Solo and two-person shows include Air Dry with Danielle Fretwell at Commonwealth Gallery (2020) at Boston University and Limbic Slang at Red Arrow Gallery in Nashville (2022). Her work has shown in group shows at Crosstown Arts Memphis, Centennial Art Center, Piano Craft Gallery in Boston, Tiger Strikes Asteroid - New York, and The Historic Arcade in downtown Nashville. She is a member of the Nashville-based Post-Nothing Critique Group and continues to paint and curate in her hometown.

I’m interested in perception, the language of materiality, and the tension between human habits and natural order. I often begin with bodily and elemental imagery and objects, allowing paint to guide a process that embraces contradiction, awkwardness, and accident. The visual dialect I’ve aged into —intuitive and constructed—invites me to dwell within complexity rather than resolve it.

The materiality of paint does most of the heavy-lifting. The chromatic and viscous behavior of oils offers an imprecise but familiar pathway to knowing the unnameable. Its tactile and forgiving nature makes space for both immediacy and patient revelation. In navigating the tension between control and surrender, my work seeks to open up small fields of understanding—porous spaces where matter, memory, and meaning briefly align.

At its core, my practice is a meditation on perception: how we see, what we miss, and what it means to look closely. In an age of distraction, speed, and uprootedness, painting has become a slowing agent, an act of resistance, and a method for reconnecting with the here-and-now. Through this primitive past-time, I convene with the pulse of experience and reckon with the bizarreness of being here.