In this body of work, Goodman establishes a direct link to the beginnings of his own visual language. He transforms decades worth of his own drawings, torn t-shirts, and indeterminate painted landscapes into small works that unfold into a coherent, if chaotic, present. While most work in the show is presented on an intimate scale, two larger sculptural works in the gallery are presented as ritual object, inviting viewer participation and marking the passage of time as calibrated by events, phases, cycles, and moments.
Goodman's frequent act of recycling his own work is not an aggressive or destructive gesture, but rather a slow process of filtration. He methodically distills his work over time, discarding sentimentality and heeding prophetic impulses that direct his practice towards its next landmark. In doing so, Goodman invents his own glossary of aesthetic motifs and expressions, building a human archive as messy, raw, and layered as his own complicated history.