Larry Goode

Our Artist of the Month for November is

Larry Goode

We took a trip to Larry's studio and learned some amazing stuff about his process, inspirations, and past, current, and future works.

 For the entire month of November, Larry's work will be 20% off. Check it out here.




What are you working on right now?

I’m currently working on a series of abstract mono-prints. I like to use paper a lot because I’m originally trained as a graphic designer and book designer so I really love to work with paper even though I’ve transitioned to fine art.  The paper that I use is reclaimed from pre-1950’s books, so all antique paper, some from the 1800’s. It seems to me like it adds a spirit to the painting. Sometimes people will write inscriptions on the inside of the book and I’ll leave those in there and they show up in the art and it adds this kind of weird connection with the past that I really like. I’m also working on two self portraits and kind of exploring my history. To me, self portraits are also about memory and events.

Are the old books where you find your inspiration?

It’s more about the examination of the past and of memory. Everything I use is just a vehicle to explore that idea. I’m not inspired as much by the materials as the message and the space that it carries. For some reason when I see empty space I think of memory. There’s a certain aura, to me, around memory. I’m interested in that a lot. That’s what I’ve been doing recently- going off into more whimsical, surreal kinds of things.

What kind of techniques and materials do you primarily work with?

I work with acrylic paint, antique paper and found objects, and sometimes oil paints. I like to use small bits of metal as well.

Do you have another profession outside of creating art?

Besides art, I teach graphic design and illustration at ACC part time and I still do illustration and graphic design work on occasion.




Tell us about some of your other projects.

I created a children's picture book about my dog and I've done some more conceptual sculptural work. One example is an altered book project based on a book called 2666 by Roberto Bolano, a Chilean author who passed away. It’s loosely based on a group of over 200 women who disappeared in northern Mexico in the 90’s and the police never did anything to find them. It's a very urban setting so I painted all of these women and made a conceptual grave out of paper, concrete, wire and dirt. You can see an image of a skull through a glass hole but to see the women you have to take the entire structure apart. Once again I’m back to the thing of lost and found, memory and forgetting. There’s an existentialism there that I find fascinating- death, things hidden and not found, the effort to find things hidden. It extends to all kinds of things in life these days. We’re not allowed anymore to search on our own. We’re forced to look at everything. I see a lot of this with my students and I think a lot about it. People freak out when they don’t know the rules. To go search, there are no rules. Sometimes we do an exercise in class when we try to do these wrong. It almost always comes out better than when they try to do it right. There is freedom and no expectations.

 What can we expect for the future?

I want to start doing bigger sculpture in the future- more cubes and squares and paper covered objects.

Where can people see your work?

Currently I’m showing work at Austin Art Garage and The Small Gallery in Dallas.



 Horse Mono-print Triptych


Theory of Flight