At the end of the last century painters experimented with the new medium of photography. At the closing of this century computer generated imagery is the newest experimental medium for artists. I am the first to admit to holding back from embracing this path as a legitimate road to be travelled in visual art, as too many questions regarding conservation quality of the image and creative ownership (e.g. technical team or individual artist) remain unanswered. But Inta Goddard's excellent exhibition not only resolves many of these questions, it offers an exciting visual experience produced by an innovative artist.
Goddard has done her research - via the internet, naturally - to find out answers to many of this doubter's questions. She has learned a great deal, not only about using the electronic medium, but about conservation aspects such as different archival and dye based inks, photo-glossy and cotton rag paper, fade resistant and permanency factors, etc. Enough in fact for this sceptic to see how the professionalism of an artist can dispel any worries about the validity or value of the medium, when properly employed.
Most know Goddard for her abstract paintings involving swirls and swaths of thick rich colour that celebrate the sensuousness of the medium's viscosity. That same understanding and appreciation of the paint medium, and how it can be employed to stimulate the viewer, continues in her explorations with the digital print.
In this exhibition, many of her images offer an edition of 15 while a few collages and hand coloured prints are unique state. The colour in these abstract compositions appears subdued, not from lack of variety or value contrasts, rather a result of the process. Goddard uses this effect to its best advantage in Celebration, Tropical Rainstorm, Good Morning, and Flowers from Angie II, each a celebration of a different earthy hue. These works are full of movement yet somehow relaxing, a result of the artist's command of composition and colour balance in each.
The artist's hand is not as far removed from these works as one would think. Goddard selects the characteristics of her marks (pencil or brush-like) while the pressure of her hand as she moves a stylus over a flat-bed screen, controls the value level of the chosen colour. For example, the warm sepia hues, tonal contrasts and 'textural' effect of Shadows has the appearance of a conte and chalk drawing.
I suppose I'm the last to be converted to accepting computer generated digital prints as art - and even then, only providing they are produced with the same degree of intellectual exploration, creative energy and quality control as evidenced in this fine exhibition.