Steph Goodger

    Attributes

    • Female
    • Painter

    About the artist

    Steph Goodger lives in Bordeaux, France, where she lectures in Art History at L’Ecole du Commerce de l’Art et de l’Action Culturelle (ICART), Bordeaux and teaches at L’Ecole d’Art Plastiques, Libourne. She holds a BA (Hons) Fine Art from Surrey Institute of Art and Design (1995) and an MA Fine Art from the University of Brighton (1999).

    Goodger has exhibited in the John Moores Painting Prize, Liverpool (2004); The Celeste Painting Prize, London (2006/7); The Marmite Painting Prize, London (2011); The Mostyn Open, Wales (2011); The Threadneedle Prize, Mall Galleries, London (2012); and was winner of the People’s Prize at Beep: Wales International Contemporary Painting Prize, Swansea, Wales (2012). Other exhibitions include Shamanimal: Ritual and the Non-Human, Standpoint Gallery, London (2009); Citizen Exhibition, Tactile Bosch Gallery, Wales (2010); and After the End, Elysium Gallery, Wales (2010).

    Goodger has exhibited twice with the Parfitt Gallery, Croydon: Call me Ishmael, a group exhibition (2011) and I’d like to see the Governor now please…or…whoever is in charge, with Julian Rowe (2012). The London Group Centenary Openat The Cello Factory, Waterloo, London (2013) was her most recent exhibition, where she received the Winsor and Newton Prize for Painting and Drawing.

    Visual Arts Practice

    “The principally work is large format oil paintings. The central concerns in my practice at present are the structural possibilities of plans, models and schemas when applied to historical or literary subjects, mainly from the Nineteenth Century. How also, the related qualities of artificiality, functionality and the diagrammatical may coexist with a poetic aspect or a gritty, dynamic reality, present in these subjects.

    Forms of social organisation and their relationship to the physical structures and spaces that house them are key themes. This combined with the related notions of the utopia and dystopia; real environments with utopian/dystopian elements, such as the whale ship, slave ship and prison ship or hulk, or fictional, literary constructs, as in the works of Melville, Dickens or H.G. Wells. I am also very drawn to Foucault’s notion of the heterotopia; a real, Other Space, set apart from and yet connected to all others. These have utopian intentions that always fall short as they are impossible to achieve.”
    Steph Goodger

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