About the Artist

William Dean Sarno

Toyoko Katsumata

The Kim Family

Suguru Hiraide

Beanie Kaman

Cha Ki Youl

Toko Tokunaga

Rikuo Ueda

Prawat Laucharoen

Michael Freitas Wood

Dan Nadaner

Graham Goddard

Razmik Samvelts

Geoff Mitchell

James Patrick Finnegan

Luis Becerra

Mark Griffin

Sallie Whistler Marcucci

Kamol Tassananchalee

Ramone Muñoz

Kunio Ohashi

Janet Mackaig

Pat Berger

Subscribe and recieve invites for events and workshops.

FACEBOOKMAILING LIST

Donate

Help Support diversity in contemporary arts education for the City of Los Angeles

Graham Goddard

 

As a conceptual artist who employs the techniques of painting and installation, Graham Goddard aims to develop in his work consistent social devices that are capable of delivering the broadest range of concepts possible.  Engineering from concept to dynamic image, his paintings are mounted on rotating pivots that frequently allow inverted images to be viewed from two or more angles, and invite the viewer to handle the work.  Other more abstracted works, landscapes and pastoral scenes are also available for manipulation, providing for an eclectic painterly discourse tied together with a central operative purpose.  The artist is highly invested in the transmission of the idea to the viewer, and seeks to have the viewer directly involved, seeking intimacy with the audience. 

 

 

 

He uses this investigation of interaction to achieve a number of objectives.  For arriving at a changing perspective through inversion, he found useful resources in the experiments of Marcel Duchamp, Giuseppe Arcimboldo, and others who employ rotation and create interactive installation art.  He seeks to use the paintings to inspire the viewer to consider connection, starting at the basic physical connection of touch as they encounter the weight and character of the canvas that is transmitting the message.

 

 

Goddard spans a broad range of arenas in which he would like to have interconnection drawn.  As a Trinidadian-American, he hopes the viewer will connect to the risks an immigrant takes, and discover in his work a positive answer to the question this background inspires – β€œIs this country better because I am in it?”  Much of his work translates social commentary into natural symbolism, especially his series of paintings about religious faith, in which Bible verses are translated into birds, waterfalls and other images of the natural world.  Taking this further, he folds in the multiple layers of nature, place, identity and religious belief as a means of exposing the directness with which people have access to meaningful understanding of themselves, their choices, and the means by which to create healthy environments.