Untitled

About this work

You see a tall, narrow sheet of plastic covered in smudged charcoal, pastel, and oilstick—mostly gray and black, with a faint ladder shape scratched into the middle. Goodwin worked on plastic so the layers would stay wet and moveable for weeks. She’d press, smear, and erase until the marks felt like breath or memory, not a solid object. The ladder isn’t climbing anywhere; it’s just hanging there, half-dissolved. If you like how this feels, look up the technique called *impasto*—thick paint you can almost touch.