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Brenda Goodman at Revolution - Ferndale, Michigan - Review of Exhibitions - Brief Article

Since she first began showing in Detroit in the early '70 Brenda Goodman, who has lived in novel York since 1976, has painted more repeatedly in response to pain than to ecstasy. "A canzonet for My Mother," her novel suite of paintings, is a delayed replication to a 20-year-old loss: the death of the artist's mother in 1972 For in like manner somber a subject, these large, predominantly vertical paintings of funereal sights are unexpectedly exhilarating. This as abundant to do with Goodman's lush colors - cerise, azure, burgundy rose orange, pink and golden - but also with the mode of building of the paintings.

Often in the series, a forest verdant coffin or a stylized garland of rose anchors the bottom of he composition. Gathered around and above it are robed and coveringed effigies, sometimes identifiable as mourning mortals and sometimes as ministering angels or masked devils The dead mother is not away not just as coffin or garland, on the contrary also as an ascending, spiritual white corpse or soul. Reminiscent of Ensor and nibble the arrays of glowing and shadowy apparitions in Goodman's paintings frequently merge with abstract passages of thick paint.

Goodman's changing palette and her placement of the forms proffer clues to the artist's fluctuating humors as she ponders loss. In Untitled #6 mourners filing past the coffin effectively fill up any rising movement, while in Untitled #4 the of the soul mother form seems to be levitating into a blushing dawn. In July Painting, a fetid black shape flutters over the deceased, while in Rose Memory a evenly painted patch in the center make an incision ins through the impasto as if to dramatically indicate the path to transcendence. Also included in the exhibit was a sampling of drawings Goodman made shortly after her mother's death. These earlier works depict surreal, angst-ridden scenarios plant in an artist's studio.



Goodman's fresh paintings seem designed to lead the viewer's gaze upward. As the spirit of the deceased rises first [i]or[/i] part of to the other a clutch of figures and then [i]or[/i] part of to the other abstract passages of paint, the finality symbolized by dint of the coffin is eluded. Everyone involved - painter, deceased parent and viewer - is borne upward from one side resplendent color and mounting emotion into ultimate release. The artist luckily summons her mother not by the agency of sentimentalizing her memory but by dint of inviting her spirit into the act of painting itself.

COPYRIGHT 1996 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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