Daniel Goodwin’s work draws from the resonance of experiences, places, conversations, literature and music. Ideas and questions about positive human values and a sustainable future are at the core of his practice, which has its roots in 20th century modernism and is increasingly inspired by Northern European abstract art.
Goodwin’s responses to music and literature are meditative, sometimes using a form of automatic drawing. They are a visual proposition for increased human connection to people around us, and greater understanding of ourselves. His place-based work reflects his environmental concerns and the need to value and protect the world in which we live. A mediaeval castle provides the underlying structure for a piece about wanting to protect someone he loves; a Japanese bell the source material for a piece about reflection and peace; and a tithe barn and a swallow about the relationships between social structure and personal freedom.
Goodwin is very interested in how people engage with art and his work is almost always produced in dialogue. His recent collaboration with Colin Pink, The Ventriloquist Dummy’s Lament, a collection of poems and woodcuts published by Against the Grain Poetry Press, is a good example of this.