K-B-2 1992

Curator: Here we have Robert Goodnough's "K-B-2" from 1992, rendered in acrylic on canvas. Editor: Whoa! It feels like a controlled explosion. A burst of shapes—triangles, mostly—zipping outwards. Pretty chaotic at first glance. Curator: Absolutely, but let's not overlook how that apparent chaos resolves itself upon closer viewing. Consider the chromatic organization, the distribution of weight, the push and pull. It all contributes to a structured sense of dynamism. Goodnough was deeply influenced by Abstract Expressionism and geometric abstraction, and in many respects he blended both worlds together. Editor: Dynamism for sure, that’s the energy radiating off it! And yeah, I see what you mean. The color is almost like a code; cool blues up top, then this fiery red core that grounds the piece. So is the name "K-B-2" part of that code, a hidden key or something? Curator: That is a tantalizing speculation; the naming convention in Goodnough’s oeuvre always retains an enigma. The arrangement—it isn't merely about flat shapes on a background, look at the varying translucency of the colors, allowing for a kind of layered effect, it’s like looking through stained glass that’s being scattered by wind. Editor: It does have that multi-dimensional feel, like seeing reflections. This is making me rethink what "abstract" can really mean; it’s not just random splashes—he's really in control, directing that explosion we were talking about. It is controlled spontaneity, I would call it. I might even buy a print of it if I were feeling blue. Curator: Ha! Perhaps that feeling blue inspired him. It’s pieces like these that underscore how an artist, dealing with simple elements—shape and color—can create such a powerfully energetic and affecting viewing experience. Editor: You're spot on. This conversation shifted my perspective on it all, and you know I was more than willing to shift! It went from a random blast to this meticulously balanced force. Good stuff.