Amy Goodwin

I created this invitation for last year's ARTspace open studio. While I was making it I was thinking about paper cutting techniques as a way of telling a story. The visual branching of ideas paired with the Rorschachy reflection of form.

flocking…

I am starting to think that birds no longer fly south for the winter.
Instead, they fly over to Etsy and wind up stitched or printed on everything.
Because the birds often need a place to land, don't forget the tree limb imagery .

If birds are the new deer what comes after feathers? Perhaps it is time for the honeybee to have a go?

yum

I made a series of these cupcake lights from a great dollar store score. I positioned one on each side of my large orange desk at my studio. I like to think of it as my "executive " desk at sweet industries.

There was a fun(ny) article about the rise and demise of the cupcake in the NYTimes this past week
It begins…
"THE cupcake is at something of a crossroads. Edible icon of Americana, frosted symbol of comfort and innocence, it may not have faced such an identity crisis since first appearing in cookbooks sometime in the 18th century."

encaustic commision

This portrait was challenging and very enjoyable. I hope to do more portraits.

LJ
encaustic
16x20x2"
2007

first notice

open studios at my studio building
ARTspace Maynard

patterns and shapes
painting sketches

it is all wonderful

Boy Wonder
ink on paper
11x14"

in defense of female aggression

The book Woman, An Intimate Geography by the Pulitzer Prize winning author Natalie Angier inspired much of the work I made for my Girlfights and Strong Girls series. There is a chapter in the book called In Defense of Female Aggression where Angier describes the cultural rerouting of girls aggression that occurs once girls start to talk. There is no duking it out in a straight forward battle. Girls retreat to snubs, gossip, eye rolls, etc… and it all becomes a bit more insidious. A meta gesture of being pissed.

strong girls

a sketch for a painting
a logo for my girls
be strong and bloom

Juicy Love

The Juicy Love mirror started out as a series of automatic line drawings (a stream of conscious drawing technique to loosen up). Lots of loop-de-loops and retracing. I was conscious of how painting marks or works are often (maybe too often) described as "painterly". In laser cutting I like to describe the mark as "skaterly." In laser cutting the laser cruises along the surface of the material being cut much like an ice skater glides across a frozen expanse.

When the mirror is a single color the focus becomes the line. Adding color calls out different groupings almost hidden within. Formally I liked the references to both fruit and to love that reside in this pattern.

Juicy Love
laser cut acrylic mirror
edition of 100

available at on etsy

Canonball
12x18"
2006

thanx Jennifer

Tatum Jane

Tatum Jane
encaustic
16 x 20"

St. Paul's show

Getting to see multiple series of work all hung in one place is rare. Never enough wall space. I like the cadence of the show. A vertical visual poem read any number of ways. It helps me sort out where I've been and where I'd like to go.

The people at St. Paul's School have been incredibly kind and welcoming. I was impressed with the maturity and confidence of the students who attended the opening. I look forward to working with the students in October.

Thank you to everyone who loaned work back to me for this show. I appreciate your efforts.
Thank you to Michelle and Amy for coming to the opening.
Huge thanks to Tatum, Clara, Sofie , and Rick.

opening tonight

Everything is Wonderful
Hargate Gallery
at St. Paul's School
Concord, NH
6:30-8:30pm

Shojo Apparition
ink on paper
38x50"

when you're a girl…

things can get all tangled up

Double Double Dutch
ink on paper

Shonen Apparition
ink on paper
38x50

two more images from the effervese series

tell me a little bit about yourself
gesso and ink
11x14"

The St. Paul's show opens Thursday so I think I will just post work from the show this week.

Playround
graphite on paper
11x 14"

freckles

our Flatpak house

I took these shots yesterday
After two years in the making our Goodwin-Wise Flatpak is becoming a home

This piece will be part of my show at St. Paul's School that opens next week

Red Folly
encaustic on 2 panels
17x34"
2007

I like to assemble small disembodied shapes to form larger intelligible silhouettes; grouping many small things for greater overall optical effect. While I was preparing for the Wasabi show at the Nave Gallery, I discovered the Japanese artist Yayoi Kusama who, for the last fifty years, has incorporated a stylized dot motif into much of her art. She describes these dot patterns as “reverberations from an invisible universe.” Seeing these little marks as pulsing from "the other side" was a notion I hadn't considered.

Evolving Bluebird is a large ink on paper work that was influenced the pieces I created for Wasabi (photo album on the right).

Evolving Bluebird
ink on paper
38x50"
2006
Fidelity Corporate Art Collection

2nd wonder

Blue Wonder
encaustic
24x24"
2007

end of summer

Languid
ink on paper
22 x 30"

Double Dutch
encaustic, graphite, gold leaf on panel
5x7"
2006

is it September already?

Remiss
encaustic on panel
24x24
2007