Held, Triptych 1 & 2 6 textile banners, each 10 x 2 metres
Exploring the unique relationship between patients, loved ones and clinicians, Goodwin has created six textile banners each 10 x 2 metres in size. Featuring six individuals from the hospital’s haematology community, intricate water colour studies appear on the banners, suspended from the atrium’s 21 metres high ceiling. Each triptych grouping represents a triangle of support around a patient.
Each figure, painted as a double exposure, captures different emotions, suspended across dual moments; expressing humour, thoughtfulness, hope, introspection, reassurance or resolve. The groupings of three are held in space, held in a structure of support, held in the balance, in a period of uncertainty, in a time of shared endeavour.
There are no outward indications of which role each figure holds, implying the potential strengths and vulnerabilities of any person at different times in life.
The figures look up, down and across the space, they are reflected in the internal glazing of the atrium and visible from multiple vantage points, from high stairwells, in-patient and treatment rooms, entrances and waiting areas below.
Originally small in scale, the delicate and intense watercolour studies have been dramatically enlarged and printed onto veil-like, translucent textile, making the vibrant painted figures visible from both sides.
The subtle movement of the banners in the airflow of the space, animates each individual. The changing natural and artificial light throughout the day and seasons, causes the figures to overlap in a variety of ways. As the atmospheric conditions change, the interweaving of their lives is suggested, as different individuals move into the background or come to the fore.
Sensed 60 watercolour studies, printed as wall panels, total size 2.5 x 8.4 metres 60 videos of the watercolours being made, total duration 33 hours and 33 minutes
The panorama of 60 watercolour studies focuses on details of heads, faces and hands. Sensed explores the sensory communication and dynamics between people during a patient’s care. Close-up fragments, expressions and gestures evoke moments of intimate interactions and contact between those involved. Goodwin’s process of making each watercolour mirrors aspects of the sensitivity and attentiveness essential in a patient’s treatment; studying a subject, entering their world, reading the signs and messages of the body, looking analytically, empathetically and emotionally. The watercolours become evidence of close study and the desire for discovery through human connection. The videos invite visitors to watch the painting process in real-time. The accumulation of small brush strokes suggests the myriad connections and touches that counteract the procedural aspects of treatment.