Dryden Goodwin

Dryden Goodwin was born in Bournemouth in 1971, later studying at the Slade School of Fine Art, London. He has participated in a number of solo and group exhibitions in this country and abroad exhibiting work including photography which is often in combination with illustration and drawing, video and soundtracks. His work has a shifting relationship between different media and the layered nature of his work. Goodwin's work heavily focusses on the human figure and portraits which creates intense curiosity, intriguing the viewers. He considers the process of looking and representing, in relation to what people experience and what they see. He has demonstrated a sustained interest in the investigation of the way we interact physically and psychologically with and within urban spaces. Further exploring the changing nature of our contact with people around us, both known and unknown. 

Why I Chose This Photographer:

I decided to research the work of Goodwin as he relates to my topic of a journey very well.  I found it interesting that the way in which he takes photographs relates to a journey, this is due to the fact that he photographs random subjects on his travels in London. Also he captures people on a journey themselves, either walking around touring London or even on modes of transports such as buses.

This photograph of a young women is taken on the streets of London at night from a relatively high camera angle. The subject is looking down avoiding eye contact, which when accompanied by the lack of light, creates a very efficient sense of vulnerability. The women is the focal point of the piece as the rest of the composition is either darkness or blurred out. Her face is slightly lit which allows for the etchings to be seen effectively. Goodwin inscribes into the printed photograph in attempt to reach back to the moment when the photograph was taken, illustrating pensive moments of reflection. The work then become a sign of care which he wonders about these strangers, imagining an understanding and even an intimacy with them. Furthermore, through scratching the surface of the photograph a sense of violation also lingers. This suggests vulnerability within the woman and also associates a less than soft form of voyeurism.

This photograph is of a young black youth who is on the streets of London. Once again the photograph is taken at night where he is in focus whereas the rest of the frame is blurred. The age of the subject is quite visible, which could relate to the name of the piece being 'Cradle'. This could suggest a sense of vulnerabilty through his age and the place which he grows up, potentially having a poor standard of living. This vulnerabilty is enhanced through the etchings on the face of the subject which can imply a sense of violation which he perhaps experiences or is exposed to at a young age. As aforementioned, these lines create a feel of care and nuturing which works very well with the age of the subject. The lines on the subject's face/head works very well in showing its shape and form. The lines bend and curve which add perspective. Also the way in whcih the lines highlight the shape of the boy's head despite the fact that he is wearing a hat works very successfully. This piece could relate to a journey through him undertaking a journey through life, progressing as he grows up and matures.

The two images below depict two different subjects travelling through London via bus. The man is reading what it seems to be a newspaper whereas the woman is asleep, resting throughout her journey which is a stereotypical action whilst travelling. There is also a closer up version of both images which zooms in and focusses on the subject's face which enhances the visibility of the lines on their faces.Both images have been taken at night which could provide even more reason for the woman to be sleeping. There is very minimal light, where the only source is the lights on the bus which highlight the window of the bus which contrasts with the dark surroundings. This therefore allows the subjects to stand out who are generally placed in the centre of the composition. The dark gloomy colour scheme allows for the drawing on the face to stand out considerably which he creates by using a digital drawing tablet. The name of this series is 'Caul' which is also the name given to a portion of the amniotic sac that can be left over a child's face at birth. In some cultures the Caul is given demonic associations, but in contrast to this it is also considered as the child being safeguarded or even gifted with special powers. Goodwin embraces motivation of a Caul and the red lines cover the subjects' faces like blood vessels or raw tissue which resemble the appearance and texture of a Caul. The colour of the lines being red can imply connotations of evil and danger which can relate to the association given to a Caul in some cultures.

Influence

My work shows great influence and relevance to the work of Dryden and it is clear how I have experimented with his technique. Alike Dryden, I have photographed people while on transport as well as introducing similar etches into the face of the subject by using red lines.

 

Overall, I really like the way in which Goodwin demonstrates a journey, whether the subject be on a mode of transport or even going on a journey with the subjects themselves, taking photos of strangers and somehow relating to them. I feel that the lines and etchings added also work very well considering his reasons of doing so.