In an interview with Fabulously Feminist Magazine, Green says of her work: “I hope that images of trans bodies is validating for other trans folks to see. I think the spectacle of the trans body is something that I’m constantly negotiating, that it can’t always be only for other trans people, cis people are going to see this and respond to it, and that’s fine, but when I see other trans folks, particularly trans women making work, it feels very exciting, very validating, and I hope other trans folks get that from my work as well. Cis people are so obsessed with our bodies that it becomes this really complicated thing, wanting to make work that depicts naked bodies and sexuality because I, as a queer and trans person want to see my body reflected back to me, but also knowing that this innate need to work with images of trans bodies is also this fetishy spectacle for cis folks. It’s complicated.”…show more content… Flowers are traditional, but Green often uses pansies and auto-pollinating flowers. While painted bricks are not unusual in ceramic art, in a queer context, they suggest the dismantling of available societal structures and substructures—a nod to deconstructionism. Cobalt can be considered ubiquitous, and purple, queer. “Purple, for me, is very much a queer color. My initial draw was because it felt like a subversion of traditional blue and white glazes, using a purple that could read in a similar contrasting way as cobalt but also work as a visual language for queer ceramic objects.” Green continues: “Historically purples have been claimed by queer communities, yes, and they have also been worn to designate homo-desire and transgender roles in so many cultures and religions. For me, I’m innately drawn to purple for it’s inbetween-ness and it’s vibrancy, it’s totally my power
