For this method you need at least a good teal green, and a turquoise, and white. I used Turquoise (VMC 966) and Emerald (VMC838). You can achieve similar results with Electric Blue (VGC 23) and Jade Green (VGC 26). Using various ratios of the blue and green gets you a variety of finished looks. I find that the blue color tends to give you the most body and coverage where as more green in the mix tends to make the effect pop more, so I tend to start with a bluer mixture and move the mix in favor of the greens as I work up the effect.

To start with you once again want to hit at least the cracks and crevices with a good wash. This one is about 65/35 in favor of the turquoise, and I'm painting more nooks and crannies on one side, while hitting the larger surfaces on the other for comparison:

A few more coats to build up the wash. As I progress not only do I hit smaller areas, and shift the color a little more toward the Emerald, I also dont thin the wash quite as much, so you start getting more opaque coverage once you have the tinting down where you want it:

Once you are happy with the locations of your oxidation, you should stop washing, and start a more painterly technique. Verdigris frequently happens in localized bursts. A pock mark or scratch or surface artifact may be the first place the reaction starts to occur,so playing to that organic looking development helps the effect look realistic. Remember you're representing a process that the metal is undergoing. Some places will be farther along than others at any given time. You can vary the effect here by adding a bit more white as you go to brighten the color if you want a more intense verdigris.

Here I've started to use a heavier hand to get mottled splotches, and I have also added some linear drippy bits to echo surface irregularities that may be channeling rainwater over time:

Now it's time to really start adding in white and get some highlighting going. At this point you're trying to both replicate the chemical patina, and to represent the object in 3D, so you should hit the edges of the more opaquely colored areas with more white in the mix, and the centers of linear or circular splotches and drips:

Now that you have a really solid and intense light blue verdigris, it is time to bring the green back in a few places to really make things pop out. Here, I'm back to a slightly thinner and more Emerald heavy mix. Just enough to tint over the few the places that I hit with the white, and leaving some nice green splotches over some of the blues:

The last step is to bring selected parts back down a notch and give the whole thing a bit of weathering. Objects with verdigris are almost always old and weather-beaten and a realistic piece will reflect this. A little thinned down TinBitz, or brown inks, can work well for this. At this stage I used thinned black to do some mottling, which gives a good suggestion of tarnish, grime, and shadows, and then applied a somewhat liberal washing of Smoke(VMC939) in many of the crevices:

Here are a few different angles of the finished statue under proper lighting: