Lynne Roberts-Goodwin is an Australian-based artist whose work engages photographic imagery, sculptural objects and video, interrogating contexts and topographies of cultural and environmental tension. Roberts-Goodwin has exhibited extensively and her work is held in private and public collections including The Museum of Contemporary Art in Sydney, the Art Gallery of New South Wales in Sydney, the National Gallery of Victoria in Melbourne, and Manchester Art Gallery. The recipient of national and international grants, awards and commissions, the artist’s work is held in prestigious private and public collections and was awarded the 2017 Inaugural Mordant Family/Australia Council Affiliated Fellowship and Studio Residency at the American Academy in Rome.
The works of artist Lynne Roberts-Goodwin centre on the pivotal conceptual foundations of landscape as a record and aftermath of human values and actions imposed over time coupled with extreme locations in terms of geopolitical, remote topographical and culturally estranged. The artist’s work and research surrounding these broad concepts inspects visual representations of man-made and ‘natural’ landscapes that appear as ‘other’ in more than one way and are centered within locations or through histories of contested sites or geopolitically contested remote or elevated topographical territories. Confronting representations from different parts of the globe, Roberts-Goodwin invites us to engage with unfamiliar contexts and global structures of environmental conflict and sites of impact. Relinquished landscapes produced in different temporal and spatial locales in light of each other are laid bare and investigated, scrutinized and visually represented as a mode of seeing and as a site of control and resistance, intertwined with social and economic power structures. Lynne Roberts-Goodwin’s photographic work and installations can be seen as an aftermath of the fragmentary and enigmatic qualities of the photographic document as a path to return afresh to what we think we know of the past, and how we think we know it through present engagement and dissemination. The artist, within her imagery, engages the lens of ‘spatial aesthetics’; that is, ‘the complex entanglements between local and global ideas of place’.
“deadcalm border 132 closeupatadistance 2016 series”
“deadcalm distance 100 closeupatadistance ”
“deadcalm distance 101 closeupatadistance ”
