Bobbi Goodboy is forever interested in beautiful things. She perceives this interest in beautiful things as profound to humanity. She believes it to be a shared intelligence and source of communication. Her paintings are about manifesting such visual presence.
To paint "beautiful things," Goodboy concentrates on the painted surface, figurative components and the Chiné Collé technique. The painted surfaces are vibrant, energetic and ambitious. They are a full exploration of painting both in delicacy and in bravery. Often both the front and the back of surfaces are painted and incorporated in the work.
Figurative components appear interspersed with embellished surfaces. They take form as symbolic ensigns, such as, the circular mosaics dominant in the Pharos series. In other works the figurative components manifest as geometric /diagrammatic progressions, an amalgam of fauna/ floral or encrypted calligraphy. These figurative components serve as archetypes of image and relationship. Some components express elusive meanings while others are clear narratives.
The Chiné Collé technique is the foundation of Goodboy's paintings. This collage technique allows for the making of art in a nomadic life-style. It is a paragon of creativity out of necessity. The making of art can be "rolled up" and reestablished much like backpacking equipment. Each workday Goodboy unrolls her backpack - layers of painted surfaces in rich relationships. The technique provides an extensive juxtaposition of painted surfaces and figurative imagery. The Chiné Collé process also emphasizes the quality of edge. Goodboy is very interested in these edges and regards them as significant constructs. The torn edge is highly valued. A final finish is often given to the work using encaustic methods.
Goodboy presents her work in diverse structural contexts, such as, ceiling hung installations, free hanging wall pieces, stretcher-mounted pieces and book format work. The work carries well from a distance. It is also fascinating at close range.