Ph.D., Time Researcher and Professor at LMU Munich Resident Director of Wayne State University’s Junior Program of the Univeristy of Munich
Mrs. Goldyn gives forest back to us, but it is not a yesterday’s world. She is sho-wing us the forest in us. It is being now. We are in this forest. Her pictures and in-stallations are not new interpretations of romantic landscapes. She is showing us the forest as a new land to be discovered. Here, there are no carriages, no robbers, but sites which you cannot see in a city, since only in the forest, the self can find itself.
Mrs. Goldyn’s forest works are not the result of walking in a park.They are the result of a forest stay which was to take seven years. In the Lower Bavarian Forest, she found the serenity which enabled her to work without disturbances. The solitude in the forest, the complete leave of everyday’s life became a drug to her.The forest became an utopian site, a place between heaven and hell. It may have been this connection of heavy physical work and life in extremes which finally became the beginning of her new creation.
You can see clearly that Mrs. Goldyn has broken with classic art. She has found a new orientation in the vegetative. There is no classic geometry in her works any more.The branches, the thorns, the brushwood, the cacti, all these are the com-ponents of a new world. She is scattering earth to us and asks us to follow her into her unspent world. In the end, Mrs. Goldyn’s forest is a new universe where she has created a new image of man. For her, there is no Tree of Knowledge, but only the forest itself. There, in Mrs. Goldyn’s utopian space, sexuality isn’t only social polarity any more.The Garden of Eden has become a different utopia for her, a wild place full of light and darkness, where man and woman live together irrecognizably and inseparably and yet melt into a unity.
With her forest, Mrs. Goldyn brings quite a new topography to us. Natural colo-urs are now glistening as psychic colours. Here you find a red of passion, of inner experience and psychic intensity, accompanied by black shades like the dark black of her earth.The branches and the brushwood of the forest are now so extremely reduced and alienated, that only the thorns of the cacti remain. However, the many cacti are not disgusting, but by their colours and shapes at-tract us closer to Mrs. Goldyn’s landscapes. As the brushwood makes the forest impenetrable, the cacti are protecting the protagonists in their world.The men and women remind us of ancient gods, of prehistoric symbols of creativity and fertility.The women present themselves to us with their abundant breasts on top of each other, being balanced by the multitude of male phalli. It is a dance of love of life, so that in the end, Mrs. Goldyn’s forest is not a sinister place, but an original, mythological world of creativity and origin.
The lights have got a symbolic meaning.They are not cheap effects to create the impression that a picture is shining like a Christmas tree. These lights are pene-trating from the background of the picture outside – just like when a man’s fe-elings suppressed in the depth of his soul get free. I would like to lead the people looking at my pictures into the world of darkness and into the world of brightness, into the world full of contradictions, full of pain and joy.These lights change the colour of the picture and the picture itself. Especially when looking at these pictures in a darker room, they get even more power.The contrast be-tween brightness and darkness is even greater, they are even more extreme, just like my life was. I call these pictures “Night Pictures”; of course, I also have “Day Pictures”. From my works, you can read a lot about my life, I am like an open book, my experiences are an archive for me I am gaining artistic strength from. My today’s works are the consequence. I am not afraid of saying:”I have lived in an utopian place and therefore, my works can appear utopian.” I am fully aware that you can quite understand my works only if you know my”forest story”. Without knowing anything about my life, you may find my art superficial, effect-seeking, strange or ugly. I have asked myself the question: Did nature have to create men in this way? Why do women have only two breasts and men only one genital? My thoughts are going into this direction: If some time the end of world and our civilization will come, maybe after some millions of years, a new world will emerge by a big explosion, and a new man, but “built” differently, with a different anatomy, and new laws of society.These problems appear in my latest works, which I also call the cycle “New Man’: The women and men remind us of ancient gods, of prehi-storic symbols of creativity and fertility.The women present themselves with their abundant breasts on top of each other, opposed by the multitude of male phalli.
I call my drawings, which I am painting mostly in bed and not in my workshop, “Bed Drawings’: The bed is playing an important part, it is a place of regenera-tion. In this state, where the body is relaxed and preparing to dream, to the other phase, I start drawing. I permit my hand to move freely on the surface, just like dancers do on the floor. I try to switch off my rationality and fully dedicate myself to feelings and intuition. I am entering another world.
Prof. Hans-Peter-Soder Ph.D.,Time Researcher and Professor at LMU Munich Resident Director of Wayne State University’s Junior Program of the University of Munich