Lynne Roberts-Goodwin

Lynne Roberts-Goodwin’s practice utilizes photographs as a personal vehicle for contemplation and activation of narratives. She sets out to take pictures, but not with a definitive goal or end-point, giving her the space to be continuously reflective and allowing the work to develop in unpredictable directions. Her images have an aura of ambiguity at times, holding many tensions in a single frame. The work includes field and studio-based typologies, observations at sites of atmospheric events, and historic images. This follows the idea that terrains, both at ground level and aerial perspectives, can be looked at from many different angles: cosmological, astronomical, geological, philosophical, historical and emotional.

TEMPO SQUISITO the north parallel 1 & 2, Diptych, 2020, Hahnemühle™ Archival Photo Rag Ultra Smooth archival digital print, 100 x 66.67 cm (unframed) and 180 x 120 cm (unframed).

Lynne Roberts-Goodwin is an Australian-based artist whose work engages photographic imagery, sculptural objects & video, interrogating contexts and topographies of cultural and environmental tension. Roberts-Goodwin has exhibited extensively, and her work is held in private and public collections. The recipient of national and international grants, awards & commissions, the artist’s work is held in prestigious private and public collections and was awarded the 2017 Inaugural Mordant Family/Australia Council Affiliated Fellowship and Studio Residency at the American Academy in Rome.

The artist's photographic/video and installation practice evidences concepts centered on the foundations of extreme topographical and aerial landscape as a record, document, contemporary archive and aftermath of human values and actions imposed and impacted over time, both culturally and politically. Work and research surrounding these concepts are primarily photographic and moving imagery drawn from topographical landscapes that appear as estranged within locations, through histories of contested sites or elevated/aerial topographical territories. Artistic practice over 35 years has actively sought to confront representations, both human and animal, of environmental conflict and sites of impact, aerially and at distance.

TEMPO SQUISITO the north parallel 3 & 4, Diptych, 2020, Hahnemühle™ Archival Photo Rag Ultra Smooth archival digital print, 100 x 66.67 cm (unframed) and 180 x 120 cm (unframed).
TEMPO SQUISITO the north parallel 9 & 10, Diptych, 2020, Hahnemühle™ Archival Photo Rag Ultra Smooth archival digital print, 100 x 66.67 cm (unframed) and 180 x 120 cm (unframed).
TEMPO SQUISITO the north parallel 7 & 8, Diptych, 2020, Hahnemühle™ Archival Photo Rag Ultra Smooth archival digital print, 100 x 66.67 cm (unframed) and 180 x 120 cm (unframed).
TEMPO SQUISITO the north parallel 5 & 6, Diptych, 2020, Hahnemühle™ Archival Photo Rag Ultra Smooth archival digital print, 100 x 66.67 cm (unframed) and 180 x 120 cm (unframed).
Deadcalm Distance 132, Closeupatadistance Series - Silver Rag photographic paper 150 x 240 cm
Beyond this Point Everything Remains #6, TEMPO SQUISITO Series - Hahnemühle™ Photo Matt Fibre 200 acid free paper 180 x 120 cm
Beyond this Point Everything Remains #3, TEMPO SQUISITO Series - Hahnemühle™ Photo Matt Fibre 200 acid free paper 180 x 120 cm
Beyond this Point Everything Remains #4, TEMPO SQUISITO Series - Hahnemühle™ Photo Matt Fibre 200 acid free paper 180 x 120 cm
Deadcalm Tower 21, Closeupatadistance Series - Silver Rag photographic paper 150 x 240 cm

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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