9th Street 1978

Robert Goodnough made this painting, 9th Street, with oil on canvas, sometime during his long career. What strikes me is how he’s built up the image through these distinct, almost shard-like shapes of colour. It’s a process-oriented approach, where each mark seems to dictate the next, building this kind of controlled chaos. Looking closer, you can see how the materiality plays a huge role. The paint isn’t overly thick, but there's a definite layering, creating this almost sculptural surface. Take a look at the top left corner, and how the muted blues and creams are scumbled and dragged, giving it this airy, atmospheric feel. This contrasts with the more densely packed, vibrant colours toward the center, making that area feel like the fulcrum, the point of departure for everything else. Goodnough's work reminds me a bit of Joan Mitchell's, that sense of fragmented landscapes and emotional intensity. Yet, it's also entirely its own, an open-ended conversation about how we see, feel, and make sense of the world through paint.