Born in Youngstown Ohio, George began oil painting studies at the age of eleven. Attending both the Art Institute of Chicago and the School of Visual Arts, New York. George was awarded the position of Senior Technical Adviser to the Student Body at the School of the Art Institute of Chicago and has taught Visual Techniques at the School of Visual Arts in New York. Goodridge’s work leans toward conceptually based modernist and at times somewhat minimalist three-dimensional visual genres. Both naturally and architecturally inspired. His work explores concepts, the creation of new forms and question ideas pertaining to the concrete world in a non figurative way.
My intention is push my current boundaries by creating a type of landscape installation(s) dealing with diverse ideas to be understood not only through my particular aesthetic and the discovery of new forms but that, which represents events within an community.
The content may vary from questioning acceptance, turbulence, class systems, gender, race and more by creating a kind of visual language that transcends linguistics. To be considered as both non-figurative and figurative simultaneously, it might be possible to symbolize the relationships between select societal issues such as the 1%, street life, popular culture, immigration, ecology and/or fashion. As I indicated before, these works will be complex, open-ended offerings and will be open to varied interpretations.
These works blur the line between sculpture, painting, and installation with variable dimensions and will be realized through my current discipline of three-dimensional stretched canvases or Dimensional Paintings as I refer to them. These elements will be free standing, mounted on walls and perhaps suspended from above, becoming more than a just freestyle painted forms but also become unique characters of sorts, supported by my Vertebrate Companion, Quoted and Objects Liaise Series.
My working process is initiated through what may be considered a type of meditation performed through initially clearing the mind of ones pre-conceived notions of form. By creating forms in a near thoughtless way, somewhat like explained in John Cage’s Chance Operations, I begin creating from a first notion and formalizing the forms and color for fabrication only to insure invention.
Perhaps this work could be considered an alternative, scaled-up game of chess with pieces that change relationships accordingly. Since these works have variable dimensions, perceptions can and will change depending on what the installation’s site-specific parameters are. All pieces are stand-alone and may or may not have a common thread of alliance linking to other grouped pieces and will be unique, as in society where there are always unforeseen outcomes change and are realizations. Ideally, these grouped works should be examined as whole, not just as individual pieces so the complexity and depth of field are not compromised.
Objects Liaise, Statement
The Series Divers Objects Liaise Series initially inspired by a lecture on Asian word games I attended by John Cage in 1981 in New York. One of said games was played where opposing players must come up with a opposing word with no relevance to the prior word offered. As an example if one said red truck and offered the opposing solution as blue plane it would not be correct, seeing as both the truck and plane are both objects of transportation and both examples featured a color value.
He also spoke of his poetry dealing with Mesostics. A Mesostic is a poem or other typography such that a vertical phrase intersects lines of horizontal text. It is similar to an acrostic, a type of word puzzle, but with the vertical phrase intersecting the middle of the line, as opposed to beginning each new line (*Wikipedia).
These works are a combination of thoughts provoked by the assimilation of these two practices with the idealism of “Chance Operations” employed as well, a method implementing the chaos as it is in nature to create. The forms were produced through an almost thoughtless process with no consideration for the other cooperative object. The select objects placement in the installation views are variable as the installation has no specific dimensions intended. Fusing of the installation is still implied through the graphic elements of line only. The particular graphics and their relationship to the three-dimensional aspect of the works have been chosen to explore these differences and not only to isolate the solutions into a concise body.
While avoiding typographical solutions employed in Mesostics and applying them to a simplified variable dimension, three-dimensional visual form in my chosen medium, varied results are possible. Unlike the text Cage’s text solutions, the boundaries are crossed with the willingness to accept the results of chance operations. One must think of all objects as diverse and initially unresponsive to one another, while trying to not conform to other present forms/graphics through a somewhat thoughtless process during creation.
Vertebrate Companions Statement
The intent of these works has always been to explore concepts pertaining to the concrete world through the creation of new forms. Being somewhat ambiguous by intention, these three dimensional works are meant to question not only object to object diversity in a visual sense but, also that which exists in sociological and philosophical terms. The relationship between significant parings, attraction and discordance are approached while striving for an inventive translation. Obviously present is the notion that suggests, that when diversity is applied as a union, a richer, broader and at times unforeseen outcome may be occur more often than that of singularity.
These works are more than merely studies in form, color and composition - or even the questioning of ideas pertaining to nature, emotions, architecture and behavior. They should be thought to be both figurative and abstract simultaneously, while blurring the lines between sculpture, painting, architecture and installation. Although these works have been installed in a specific way, they may be presented in an infinite number of configurations without compromising their integrity or intended correctness. If correctness actually does exist.
These works are self fabricated from stretched canvas over wood armatures and painted. I refer to the painted areas as blemishes, which exist in all things in nature and industry, making them unique to themselves as most physical entities are. Both architecturally and naturally inspired they invoke the underlying structures of both buildings and bodies.
Like all structures, the work’s intention possess a solid foundation from which to expand and grow. Both visceral and coolly inert, they are companions in their independent, yet ultimately cohesive nature.
Quoted Series, Statement
Similar in tactics and process from my other works, the Quoted Series is considerably more viewer accessible. Based on quotes, whether by a known celebrity of sorts or anonymous, the works are based on more of an emotional in context platform searching for a solution which re-illustrates the quotation in a pure visual, non linguistic form.
Education & Academic
School of the Art Institute of Chicago
Sr. Technical Adviser to the Student Body
School of Visual Arts, New York
Instructor, Visual Techniques
2013 Kontempo Art, An Organic Approach, Miami, FL,
2007 Tarryn Teresa Gallery, Vertebrate Companions Series, Los Angeles, CA
2007 Chop Chop Salon Gallery, Vertebrates, Los Angeles, CA
1998 Goodman Conde Gallery, Recent Works, Miami, FL
1997 Art 800 Gallery, Just Another Day In the Neighborhood, two person Interactive exhibit, Miami Beach, FL
1996 South Korean Embassy, Select Works, Washington D.C.
1996 Art 800 Gallery, FL, New Dimensional Paintings, S. Miami Beach, FL
1994 924 Gallery, Retro Hetro, two person interactive multimedia exhibition,
(Sculptural installation, video, sound and performance). Miami Beach, FL
2014 Kontempo Art, Coral Gables Grand Opening, Miami, FL
2014 The Sculptors Guild New York, Scaled to Fit, Dumbo Brooklyn, NY
2014 The Sculptors Guild, Transformation, Governors Island, NY
2014 Leigh Wen Fine Art, Emrupt, New York, NY
2014 Edge Zones, Assembly Required, Miami, FL
2013 Art Center South Florida, Unpredictable Patterns of Behavior, Miami Beach, FL
2013 Hollywood Arts and Cultural Center, Hollywood, FL
2013 Miguel Rodez Project Gallery, Passion Red, Bird Road Arts District, Miami, FL
2012 Florida Gulf Coast University, “4”, Ft Myers, FL
2012 Jorge Rodez Gallery, In the House, Miami, FL
2012 Viridian Artists, Director’s Choice, New York, NY,
2012 Boca Raton Museum of Art, Boca Raton, FL
2012 Art Deco Welcome Center, Sister Cities International, Miami Beach, FL
2011 Art Link Gallery, Art Basel Week, Escape Exhibit, Wynwood Arts District, Miami, FL
2010 Art Cube Gallery, Gallery Artists, Laguna Beach, CA,
2009 Tarryn Teresa Gallery, Lights On LA, Los Angeles, CA
2006 ADM Project Gallery, Los Angeles, CA
2002 Silvanna Facchini Gallery, Gallery Artists, Miami, FL
2002-03 Damian B Art Center, Miami, FL
1999 Art Center South Florida, Art As Architecture, S. Miami Beach, FL,
1998 Gallery Maree, The New Cote Azure, France
1998 Florida State Capital Building, Florida State Invitational, Tallahassee, FL
1996 Museum of Art, Ft. Lauderdale, Ft. Lauderdale, FL
1995 The Colony, Interaction, S. Miami Beach, FL
1995 Raleigh Studios, Public Arts, Miami Beach, FL
1994 Marguilles Taplin Gallery, South Florida Invitational, Miami FL
1993 Barbara Greene, 924 Gallery, Currents Exhibition, Miami Beach. FL
1993 Museum of Art, Curator Holly Solomon, Ft. Lauderdale, FL
1992 800 Gallery, Fifth Annual State of the Art Exhibition, Miami Beach, FL
2014 Collectors Fair, Wynwood Arts District, Miami, FL
2012 Miami’s Independent Thinkers Art Fair, Art Basel Week, Wynwood Arts District, Miami, FL
2012 Just MAD-MIA Art Fair, Art Basel Week, Wynwood Arts District, Miami, FL
2011 Pulse Miami Art Fair, Small Wonders, Art Basel Week, Miami Beach, FL
2011 Verge Art Fair, Miami Beach, Art Basel Week, Miami Beach, FL
2011 Miami’s Independent Thinkers Fair, Wynwood Arts District, Art Basel Week, Miami, FL
2011 Art Palm Beach, Black Square Gallery, Palm Beach, FL
2010 Miami’s Independent Thinkers Fair, Wynwood Arts District, Art Basel Week, Miami, FL
Wynwood Arts District , Miami
New York, NY
Art Center South Florida
Miami Beach, FL
Laguna Beach, CA
2014 Artslant.com 3rd Showcase Juried Winner
2014 Artslant.com 1st, 2nd 3rd Showcase Winner
2013 Artslant.com 1st, 2nd, 3rd, 4th, 5th, 6th, 8th Showcase Winner
2012 Artslant.com 2nd, 4th, 5th, Showcase Winner
2012 Artists Wanted, Year in Review 2011, Top 100 International Artists to Watch
2011 Artslant.com 3rd, 5th, Showcase Winner
2011 Artslant.com 3rd Showcase Winner
2010 Artslant.com 6th Showcase Winner
Public Commissions & Collections
2012 Cocoon, 30’l. x 16’w. x 12’h. Environmental Installation for the Cocoon Lounge
Commissioned by Hanlon Design for iPic Theaters, Mizner Park, Boca Raton, FL
1998 Purchase, United Airlines Latin American Corporate Collection, Miami International Airport
1998 Commission, United Airlines, Red Carpet Lounge, Miami International Airport
1998 Commission, Triptych Mural, The Palms Hotel, Miami Beach, FL
1998 Commission, 120 ft. Backlit Photo Mural, Fortune Reality International, Golden Beach, FL
1993 Commission, Modular Performance installation, MTV International, Miami Beach, FL
Registries & Organizations
The Sculptors Guild, New York
White Columns, New York
Percent for Art, New York City Department of Cultural Affairs
2011-2014 Art Center South Florida, Miami Beach, FL
1998-1999, Damien B Art Center, Miami FL
1990-1998, Art Center South Florida, Miami Beach, FL
Select Press & Television
2014 Syndicated News Network, Alive on South Beach, TV Interview
2013 The Miami Herald, Art Center South Florida, “Unpredictable Patterns of Behavior
2013 Art South Florida, Boca Raton Museum of Art, 61st All Florida Exhibition
2012 The Examiner.com, New Exhibits, Florida Gulf Coast University, Featured Artist
2012 Miami Herald, Pick of the Week, Weekender Section
2011 ArtMiami.tv, Artist Profile
2007 WhiteHot Arts Magazine, Vertebrate Companion Series Review
2007 Tribe, Los Angeles, Vertebrate Companion Series Review
2006 LA Review
1998 PBS, Channel 17, Artist Profile, Brasilia, Arts Beat, TV
1996 Sun Sentinel, Arts and Leisure
1997 Sun Post, Portrait of An Artist
1994 Miami Today, Retro Hetro
1994 South Beach Magazine, Retro Hetro
1994 Palm Beach Post, Impressive New Arts
1994 The Wire, Arts
1994 TWN, The Weekly News
1994 PBS, Channel 17, Artist Profile, TV
1994 Miami Today Show, Retro Hetro, TV
1994 Xs Magazine, Arts and Entertainment
1994 New Times, Arts Section, Just Another Day In The Neighborhood
1994 New Times, Arts Section, Retro Hetro
1994 The Miami Herald, Arts Section, Public Art