Page 27 - Studio International - July August 1974
P. 27
ROBERT GOODNOUGH
(Left top) Yellow blue 1972 It isn't just a matter of what you want to do over-concern with objects as possessions.
Acrylic and oil on canvas, 48 x 72 in. yourself, but what you must do . . . that's what You think of the spiritual as made of air,
Photo: Ann Freedman
painting has become. As I see it, the past something without body, since painting, in
(Left centre) Red, Blue, Green, Gray 1972 provides . . . examples of high accomplishment, distinction to sculpture, is illusion; but this does
Acrylic and oil on canvas, 88 x 88 in.
Photo: Geoffrey Clements but not models to copy. not mean that it is relatively vague or remote.
There seems to be a development from the I like to keep colours and shapes flexible; this
(Left bottom) Green blend 1972
Acrylic and oil on canvas, 88 x 88 in. tactile (in which things are represented to look means that my idea is left flexible. The image
Photo : Geoffrey Clements almost as though one could reach out and touch gradually becomes more clear as shapes of
(Right) Vari-colour on Gray 1972 them) to a more purely visual expression, where colour are added independently of each other.
Acrylic and oil on canvas, 57 x 82 in. one experiences the painting in itself unrelated At some point, however, the painting begins to
Photo: Ann Freedman to outside experiences. This turning away from set its own direction or laws, and flexibility
Andre Emmerich Gallery, New York
the object seems to characterize a contemporary diminishes. In the end there is no flexibility.
tendency of thought as well as of artistic The idea becomes concrete.
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