In Phraseology, her eighth solo exhibition at Butters Gallery, Portland-based Dorothy Goode ties together themes related to travel, gesture, and syntax. In Summer 2016, piloting a campervan around the Australian outback, Goode found herself questioning the dubious linkage between mark-making and landscape. Would any trace of Australia’s stark, weathered geography and washed-out colors, she wondered, wind up infiltrating her lush, boldly-hued paintings? Upon returning to the U.S. she undertook a new body of work in which she challenged herself to radically simplify her visual iconography: to deploy ever-more-efficient brushstrokes and pours, conveying maximum impact through minimal means. The resulting paintings speak to the viewer in a wordless vocabulary, direct and mysterious, that recalls petroglyphs, runes, and calligraphy. Individually they read as parts of speech or punctuation; installed in multiples, they unfurl in elegant, emphatic sentences.
Inspired by a painting by Prabhavathi Mappayil she saw at last year’s Yokohama Triennale, Goode finished these paintings by applying and sanding multiple coats of handmade gesso to the edges and “floating” the works with wooden bracings hidden behind the picture plane. This presentation lends the works the appearance of solid, immaculate white slabs: objects that emanate a quality of minimalism and ethereality.
Long associated with Butters Gallery and the Pacific Northwest, Dorothy Goode has in recent years exhibited her paintings, drawings, and sculpture at Toomey-Tourell Fine Art (San Francisco), Three30 Forty (Oakland, CA), Walter Maciel Gallery (Los Angeles), and Anne Irwin Fine Art (Atlanta). Arts writers have praised her “joyous, conjoined splashes of color” (Art Business San Francisco) and “deliberately improvised mark-making, feathery lines, and double layers of hidden meanings or secret languages” (The Oregonian).
Opening Reception: FIRST THURSDAY FEBRUARY 1st, 6-8 p.m.
First Friday Reception and Artist Talk, FEBRUARY 2nd, 6-8 p.m.
DOROTHY GOODE will comment on this recent body of work beginning at 6:30