We are delighted to present Clare Goodwin's third solo exhibition at the gallery. In her show, entitled It's All About, she presents new works that feature the special characteristics of her abstract, minimal art: Clear precision and great lightness, reduction to lines, shapes and patterns and a selected colour palette. The exhibition includes small and large canvases in portrait, and, for the first time, landscape format and three new assemblage sculptures conceived especially for the exhibition. All the works bear distinctive characteristics that mark them as carriers of social narratives.

The large assemblage sculpture of various kitchen units entitled 50086 in the second exhibition space exemplifies Clare Goodwin's artistic skill in creating new meanings by assembling existing material. The sculpture placed in the centre of the room is designed to be explored by walking around it. This allows views reminiscent of cubist pictorial inventions, such as those by Pablo Picasso or Georges Braque. The cabinet doors with their differently oriented handles and frontally positioned tabletops evoke changes of perspective. The assemblage sculpture also preserves the prior history of the kitchen units. The sculpture contains narrative, nostalgic levels. The kitchen bench integrated into the work invites the viewers to sit down and take a closer look at the two paintings It's All About (Stripe 1 and 2). The pictures allow associations with diagonal tie patterns from earlier times and hold therefore a masculine connotation. The kitchen units, on the other hand, possess gender stereotype connotations, as the kitchen is presumably, in the classic understanding of roles, reserved for women's activities in the household.

In the third exhibition room there is a second assemblage sculpture, whose shape and proximity to the ground make it reminiscent of a snake and is therefore appropriately named Serpent.

Once again, and this is a basic principle of Clare Goodwin's work, the material led to the form. The paintings in the room seem to take on forms of the assemblage sculpture and the sculpture in turn elements of the paintings. This interplay of forms between her paintings and assemblage sculptures and ceramics is a stylistic peculiarity in the development of Clare Goodwin's work. What is striking about the new paintings is the pronounced visibility of the transparently primed raw canvas. Clare Goodwin deliberately chose this canvas, which, in contrast to a white canvas, does not allow the priming to stand out too much, but allows the canvas colour to be used consciously as a means of colour composition. These surfaces are reminiscent of views through windows and form a link to the assemblage sculptures, which also have views through them. The sculptural quality of the paintings is particularly visible in the landscape format paintings. A group of small-format canvases proves Clare Goodwin mastery in the composition of abstract and minimalist images.

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