The show features the work of 15 different artists: Svetlana Bailey, Jennifer R. Campbell, Angela Cappetta, Paola Martinez Fiterre, Heather Goodwind, Tatana Kellner, Aleksandra Stone, Emily Blair Quinn, Phoebe Quin Kong, Rosemary MezaDesPlas, Alfa Rós Pétursdóttir, Lauren Redding, Val Sivili, Shamona Stokes, Suzanne Unrein, Shihori Yamamoto.
I’m excited to be included in this group exhibition at Pen + Brush in New York City. I will have two paintings and two sculptures on site, and one of each in the show.
Bodies, Bodies, Bodies: Raffish Vulnerability and Profane Ambivalence opens on June 15th and runs through August 26th.
“Artists in the exhibition pull back the veil on submission, loss, desire, vulnerability, and the body’s ability to symbolize actualities about the turbulent human experience.”
Pen + Brush Tuesday-Saturday 12pm to 6pm 29 East 22nd Street (between Broadway and Park Avenue South) (212) 475-3669
I have an exhibition at Asian Art Platform in Singapore until March 24th. It’s a really fun show because it has a large range of works on paper dated from 2017 all the way back to 2002 when I made my first Moleskine book. If anyone is in the area please stop by!
Asian Art Platform 120 Lower Delta, #08-01/02 Cendex Centre, 169208 Monday – Saturday 10 am to 5 pm info@asianartplatform.com
“That this current show is situated in a theater is fitting, largely because of the theatricality of the work. A hyperbole of sorts is at work in the same way an actor on the stage projects and exaggerates a character so that the performance carries to the back rows. In a similar manner, Goodwind’s paintings are immediately eye-catching, even from a distance, and call to you across the room. Once approached, they draw you in. The colors pop. One might even say they are eye-candy. They are also, on occasion, quite repellent, and it is this push and pull that makes her work strike a deep chord in our psyches. As such, one would expect a degree of fantasy to play a role in the work, not only as it is created, but also interpreted by the viewer.”
It’s a short and fun read, and includes playful and insightful interpretations of couple individual works in the show. Here is the link to the full review.
*edit* – The show has been extended through Jan 31st, 2023!
I have new solo exhibition of paintings in the Rotunda/ArtBar of the Portland’5 Centers for the Arts Antoinette Hatfield Hall (the big theater building on Broadway, right across Main from the Arlene Schnitzer Concert Hall).
The exhibition will be open to the public beginning Nov 1st through the end of the year, and there will be a reception on Thursday, Nov 17th from 5-7pm.
This is the fastest my work has ever moved from easel to exhibition wall. There will be brand new works from the series I’m working on right now, as well as from Series 35, which I painted earlier this year. There will also be a few large scale canvases from my Pollock Krasner grant before the pandemic.
Antoinette Hatfield Hall 1111 SW Broadway Ave., Portland, OR 97205 Open Tuesday–Friday 10AM–6PM & Two hours prior to events
All sales for exhibited work will be handled by Portland’5 – Please contact Allison Alfano at AllisonAlfano@portland5.com for more information.
One of the brand new, medium scale canvases in the show, painted during my residency at the Vermont Studio Center in September of this year. Series 37 #5, Tony – 24×30 inches, acrylic on canvas, 2022.One of the smaller works I painted earlier this year on super-smooth cotton/poly blend canvas that will be in the exhibition. Series 35 #22, Walking the Walk, 16×20 inches, acrylic on canvas, 2022.
This two person show with Pete Hoffecker Mejia was originally scheduled for 2020, and is now finally happening at the Gretchen Schuette Art Gallery at Chemeketa Community College in Salem, Oregon. The show runs from October 5th to November 4th.
Also, since my last post I’ve created three new series of paintings, all of which are viewable on my portfolio website.
Series 33 has 10 each tiny little 5×7 inch paintings – the series was a test to see if I would enjoy working on a new type of poly/cotton blend canvas that is pre-primed with a very smooth, very white surface. This photo shows two of them stretched and framed, sitting on my easel:
two works from series 33
Series 35 has 30 each 16×20 inch paintings on the same poly/cotton canvas as Series 33. This photo shows Series 35 #1 stretched and framed, sitting on the my easel:
series 35 #1
Series 34 has 13 each 30×40 inch paintings on my favorite heavy duty #10 cotton duck canvas, primed with clear gesso. I painted these larger works stretched on 1.5 inch thick bars (I usually work on smaller paintings flat). This photo shows photographer Mario Gallucci during the documentation process:
In other news, I’ve decided to make paintings available for purchase on my website as flat canvases, which will ship rolled in a tube. They can still be purchased ready-to-hang on Saatchi Art, and the prices reflect that difference.
Having a flat canvas stretched on bars at a local frame shop should cost a lot less than having me stretch it here (or having me take it to my local frame shop to be stretched). It also provides an opportunity to choose a custom frame instead of a minimal gallery wrap, which can make the art acquisition experience both more personal and more fun.
Un-stretched canvases can be purchased directly from my website using a computer or tablet (the purchasing option is not yet available on mobile). Click on an image to enlarge the work and if it is still available there will be purchasing options. The price includes shipping rolled in a tube, and the payment is handled through Paypal.
enlarged view of series 32 #46 on my website with purchasing options
I just finished Series 32, which has fifty each 16×20 inch paintings on canvas. Putting a new series online is like having an exhibition – it feels exciting and revelatory, but it’s usually anticlimatic because the real thrill of painting is in the process.
I start my paintings with a random mark and then improvise the rest, so I never know what the end result will be. The following images are first marks paired with final paintings in Series 32. The first image is taken with my phone camera in whatever light was available at the time, and the second is a high quality scan – you can really tell the difference in the way it picks up the color and texture of the canvas (I used clear gesso on these).
I’ve finished 31 (of 50) paintings in Series #32. They are 16×20 inches on canvas primed with clear gesso, and I’m working on them stretched on boards. I will put them all on my portfolio website as soon as the rest are completed and scanned, but here is a sneak peek at a few of my favorites:
SirenFertility GoddessArtemisto be titled, for some reason this one seems to repel words…Orpheus and Eurydiceto be titled – the leading candidates so far are Saint Helena and Exile…
I was interviewed by Kendra and Ashley of Art Gab – we talked about art as a process of self-discovery, doubt as a superpower, and my pandemic obsession with streaming opera from the Met.
Anna Netrebko in Donizetti’s Lucia di Lammermoor on the lower shelf of my easel…
