David Goodrich

 

 

 

 

David hails from Kansas City and has a BFA from Oklahoma State. He has had numerous one person shows in Chicago, Kansas City and many other cities. His works exhibit a style all his own which is hard to accomplish these dasy and reward extended viewing with lotds of commentary. Heres what our best local art critic had to say about his show.

Reviews from past shows:

Follies under the brush
By Julie Pratt McQuiston

Kansas City, Mo., artist David Goodrich, whose paintings are on view at 4 Star Gallery through May 12, looks blatantly at the conflicts of soul and flesh, employing myths to convey these allegorical struggles. Goodrich refers to his approach as "social symbolism." Contemporary people and things are placed in these mythological/allegorical settings, creating an effect that is relevant, yet dark and strange.

The licentious/lecherous participants in "Witches' Sabbath" cavort around the canvas, small, beady-eyed and bulbous, churning a witches’ brew afloat with babies. Buns are bared, goats are misused; this darkly mythical scene is disturbing but aesthetically intriguing. Goodrich's style is all his own. His people are emphatic gestures of the brush: rounded, large-eyed, with prominent features. His acrylics are thickly laid on and expertly mixed.

In "Youth and Old Age" an old woman clutches onto a young one, grasping for what she has already lost, as the young woman smiles passively, gazing out the window. A man and woman have just bedded in "Icarus Descending"; he's smoking, she's crying. They are at opposite ends of the bed. They have fallen, just as Icarus in his arrogance fell from the sky as his wax wings melted in the sun.

Most intriguing is "Venus (in utero)." The woman here is beautiful, clasping herself in the fetal position, a clam in her shell of self-protection. She is submerged, her red hair swirls like a crown above her; the light peers in another swirl at the surface, rays of hope. The greens, yellows and blues that compose the water intoxicate; fish circle, rendered in blue, yellow and red.

"Waking War Horse," I'm told, is a self-portrait of the artist. The horse, nostrils flared, attempts to stand amid a firesky. He is tired from battle, reluctant but determined to re-engage in his calling.

Goodrich's biblical references are intriguing; his "Song of Solomon" is rich with symbolism, the imagery tightly composed on the canvas. This is the best kind of visual narrative. The scene refers to something familiar and yet the variations and applications are many. Doves fly with roses, lily of the valley, baskets of fruit, lyres and ladies clutched in their beaks as Solomon gazes upon his white-dressed woman ... where can she possibly go from here?

Goodrich's paintings are as psychological as they are symbolic. Fortunately, there is also some humor here. The images are almost comic, and in this they are most representative of truth. Self-awareness is not shoved down our aesthetic throats.

jprattmcquiston@nuvo.net