Joseph Goody’s works examine the moment where forms painted at the surface combine with those stratified within the canvas, pushing at the limits of definition. The colours in Goody’s paintings, much like his forms, emerge organically; they are Intuitively discovered in the moment and often difficult to define. This unique use of colour gives prominence to his deft sense of touch and lends itself to the creation of a natural rhythm.
Just as the words of a poem shift their meaning through internal proximity and context, the roles of Goody’s forms evolve through the rhythmic relationships within each composition. It is this similarity to the written word and the inherent inability of a painting to tell a definitive truth that has driven Goody’s recent work.
Seeking to demonstrate this conflict, his paintings invite the viewer to engage with forms that are clearly defined, alongside those that are suggested or obscured. By establishing regularity and repetition, against decisions informed by the layering process, these opposing concepts are permitted to collide and harmonise.
The lines, shape and colour in Goody’s work are simultaneously ever-moving and static, reinforcing and undermining each other in compositions that oscillate between balance and collapse. The delicate tension of obscuring and revealing within the work reflects the ongoing negotiation between autonomy and influence, reality and interpretation.
