3/18 Image Gallery, (SX8 six-x-eight popup), "Perspectives," Brooklyn, NY
2/18 NYFW, Art Heart Fashion, Six Summit Gallery, New York NY
1/18 WAH Center "The 18th Annual WAH Salon Show" Brooklyn, NY
10/17 Manhattan Art and Antiques Center "On the Map" New York NY
9/17 NYFW, Art Heart Fashion, Six Summit Gallery, New York NY
1/17 WAH Center, Brooklyn, NY, "The 17th Annual WAH Salon Show"
5/16 BWAC Juried Show, Brooklyn NY "Hello Wide Open 7"
4/16 Roig Gallery, Hoboken, NJ "12x12"
1/16 Trestle Gallery, Brooklyn NY, "Introductions 2016"
1/16 WAH Center, Brooklyn, NY, "The 17th Annual WAH Salon Show"
10/15 Smithtown Arts Council St. James NY “member Showcase”
9/15 R. Dixon Gallery, Seneca Falls NY “Color: vivid, vibrant, vital
8/15 270 Broadway, Brooklyn, NY "Pop Up Rooftop Sculpture Park"
7/15 Ground Floor Gallery, Brooklyn, NY, "You've Got Mail"
7/15 Rockaway Artists Alliance, Queens, NY, "Art Wave"
12/15 WAH Center, Brooklyn, NY, "The 16th Annual WAH Salon Show"
10/14 WAH Center, Brooklyn, NY, Paperworks unbound, Part 1, and Part 2
8/14 Castle Fitzjohns Gallery, New York, NY, "Everyone will be famous for 12 inches"
12/13 Greenpoint Gallery, Brooklyn, NY, "Holiday Salon Show"
9/13 Brooklyn Waterfront Artists' Coalition, Brooklyn, NY, "Unhinged"
5/13 Brooklyn Waterfront Artists' Coalition, Brooklyn, NY,
"On the Waterfront, Zone A"
7/13 Brooklyn Waterfront Artists' Coalition, Brooklyn, NY, " 'Scapes"
5/98 Brooklyn Waterfront Artists' Coalition, Brooklyn, NY, "Pier Show 6"
5/97 Brooklyn Waterfront Artists' Coalition, Brooklyn, NY, "Pier Show 5"
2/97 Nassau County Museum of Art, "The Long Island Juried Exhibition"
6/91 School of Visual Arts, Bachelor of Fine Arts Show
5/14 Honorable mention 2014 New York Center for Photography "Black and White"
9/13 Curator's Choice Award 2013, Brooklyn Waterfront Artists Coalition, Brooklyn, NY, "Unhinged" Show
Yuko Nii Foundation
1987-1991 BFA in Photography, School of Visual Arts, NY, NY.
1991-2017 Commercial Photo Retouching.
1987-1991 Free-lance photographer's assistant.
At its most fundamental level, my interests as an artist lie in exploring the possibilities and limitations of a particular medium. I compulsively study whatever objects or materials I come across, looking for unusual and unique ways to exploit their properties. While there are many ways to work with wood, for instance, it's exciting to achieve results in ways not commonly seen. Masonry cement is also fascinating to work with. While it's all around us, it is mostly invisible being typically used in institutional applications. What is usually seen as a crude and banal material can become beautiful when it is used in an alternative fashion. I bring these sensibilities to both my sculptural work and my digital imagery.
Virtual Sculpture is a series of images created in the digital realm. Multiple exposures of a chosen element are combined to become a single form. It can be geometric or organic free form. Depending on the shot, I may fabricate indexing rigs to support and incrementally move the piece; or in the case of the latter, I may prop it up by other means and "draw" with the element. I use Photoshop to compose the segments and strip away the armature. As for the subject matter, I glean from my surroundings compelling elements to be combined and manipulated. A motif, which appears in most of my work, is the beauty derived from ruins and detritus. The camera has a unique ability to transform the most insignificant dirty fragment into a lustrous filigree pattern or surface. I work to push the limits of what might not be intuitively pleasing, auditioning the most humble debris or cast off junk. Embracing such time-honored aesthetics as tonality, detail and composition, I tweak and enhance. The resulting images reward close inspection.
In the motion series, long exposures allow me to paint the subject. Pushing the object across the frame renders rich streaks, textures and tonalities. Specular highlights become vivid traces. Shadowy outlines morph. The resulting image has an expressive mysterious quality.
A concurrent interest is organic patterns. Symmetry, repetition, fractals and the like, form the patterns, which occur in nature. Perfect patterns created by machines can be beautiful but lack the organic quality of those found in nature. The segments of an orange repeat, but never exactly. What we see is organized chaos. A series of wooden sculpture I have created exploit what might be called meandering. I cut a piece of wood at an angle, flip it, and reattach it. I start at one end and as I work my way through, a pattern begins to appear. I don't measure anything so each repetition is rather imprecise. The lack of precision results in a meandering quality. It's a simple approach that offers the opportunity for many unique permutations. I have created a considerable body of work based on this idea and consider it one of my signature motifs.
copyright Glen C. Goodenough 2018