[2] His paintings drew from American popular imagery, but complicated it, often using the full spectrum of vibrant colors and combining trompe l'oeil effects to play with the viewer's sense of balance.
The other members of the group were James Falconer, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum.
It stood in contrast to the sleek and urban work by Manhattan artists at the time, namely Andy Warhol and James Rosenquist.
Finally, in 1975, he received a Canada Council bursary, which enabled him to teach painting and drawing at the University of British Columbia.
[5] This exhibition brought together 50 of Green's pieces, loaned from the artist and several private and public collectors in the United States and Canada, as a comprehensive survey of his 40-year career.
[5] The imagery Green has used throughout his entire career, and continues to use to this day, is drawn from illustrated textbooks and advertising of the forties and fifties that touch on technological and roadside Americana, with overt themes of sexual symbolism.
[10] Imagery includes ice cream cones, bridges, incomplete bridges, mirrors, scissors, women's painted fingernails, passionate couples, tires, moons floating over water, puzzle pieces, silhouettes of a plane flying overhead, searchlights, tornados, women's nylon-covered legs, wood grain, leather cords, screws, cables, knots, zippers, tapes, stitches, Necker cubes, and other optical illusions.
[2] The paintings tend to have torn or stitched imagery that evokes the trompe l'oeil tradition; transparent and solid planes overlap, too, achieving a high level of spatial complexity.
[3] Green's initial forays into art making closely resembled the Abstract Expressionist tradition, like most artists born around his time.
All of these artists' work have tendencies towards a cartoon style or pop art; there is a high degree of visual resolution in their drawings and paintings and a sense of horror vacui fills their canvases.
[14] The canvases, too, appeared to be constructed from individual pieces of polished glass; his paintings became monuments to a secular campy artificiality.
[15] Nothing was quite as it seemed in these canvases, where Green was more interested in disrupting the narrative via a manipulation of both form - i.e. he uses shaped canvas - and content - i.e. the scenes within his paintings appear cropped, giving only sensuous and flickering views of a hidden tale.
[2] To this day, he has continued to use the same motifs of a flickering flame, wood paneling, ice cream cone, woman's fingernail, etc.