The graphic design of Richard Goodwin’s celebrated publication ‘God in Reverse: Art, Architecture and Consciousness’ has been internationally recognised in the prestigious 2019 Deezen Awards
The book was designed by Sean Hogan of Trampoline Design, who worked closely with Goodwin to develop a graphic treatment that would fit the unique content of the monograph and pay homage to Goodwin’s critique of classic conventions of architecture and art institutions. The publication was selected as one of the top 26 entries in the Graphic Design category, out of thousands submitted.
The shortlist will be announced in September 2019.
‘God in Reverse’ is published by Uro Publications and is available for purchase as part of Richard Goodwin’s current exhibition ‘Formulae’ at Australian Galleries Sydney.
Open 7 days a week from 10am to 6pm – 15 Roylston Street, Paddington until Sunday 28 July.
Richard Goodwin ‘Formulae’
9 – 28 July 2019
Working as an interdisciplinary artist for over 40 years, Richard Goodwin challenges the boundaries of artistic and intellectual genres through his conceptual practice, which merges sculpture, drawing, architecture and performance art into a hybrid aesthetic. In his latest body of work Formulae, Goodwin continues to investigate and dismantle the binary relationships between the physical and conceptual realms as well as human and machine forms through a new series of large scale drawings and exoskeleton models. Here, the traditional size of the mediums are reversed, as his drawings transition into larger and more complex forms, and the sculptures are reduced.
Grounded in but not limited to their mathematic origins, his drawings are creative and intuitive expressions of equations and geometric data reinterpreted into a new and experimental form of visual language. At times his algorithms are scribbled directly onto the surface, yet these theories are also rendered invisible and/or oscillate between the two and three dimensional realms.
Goodwin regards mathematics as a form of Dreaming, as it’s signs and symbols hint towards possible answers that provide not only a navigation for the future, but also an understanding of our past. However, he does not intend to illustrate such solutions, but rather maps the air around them by playing with and exploring the politics of space. Here, his formulae is both real and impossible.
These ideas are surveyed in Goodwin’s latest monograph titled ‘God in Reverse: Art, Architecture and Consciousness’, which documents a lifetime’s worth of visual, material and intellectual experiments that have orbited around the underlying question: how can something be something else?
Like Aldous Huxley’s bleak prediction in Brave New World, the practice of Richard Goodwin is arguably more pertinent than ever, as humans become increasingly submersed in and intrinsically connected to technology. How we balance the role of the machine within everyday life is a vital and universally urgent question that Goodwin continues to present within his work.
Architect and public artist Richard Goodwin received a degree in architecture from the University of New South Wales in 1978 and later completed a Masters Degree in Architecture at RMIT in 2000. He has held solo exhibitions in Sydney, Melbourne and Brisbane and at several regional galleries. His work has been included in group exhibitions including Australian Perspecta at the Art Gallery of New South Wales in 1991 and 1997, the National Sculpture Prize at the National Gallery of Australia in 2001 and internationally in Tokyo and Germany. He has completed several significant public commissions at locations including Sydney Harbour and was awarded the Sydney Walter Sculpture Prize in 2003 and the Helen Lempriere National Sculpture Award in 2004. Goodwin lectured at the College of Fine Arts in Sydney between 1986 and 1983 and has been professor of Fine Arts at the institution since 2000. His work is held by the Art Gallery of New South Wales, Sydney; the National Gallery of Australia, Canberra; Artbank, Sydney; several regional galleries and internationally in Germany and New Zealand. Two monographs of the artists work have been published; first in 1991 and more recently in 2019.
All images courtesy of Trampoline Design