Carla Goldberg : The Layerist
Congratulations to Carla Goldberg for earning her place as a Winner in the Monthly Art Award May 2024 Edition!
Who are you?
I am an experimenter at heart and have always been drawn to working with non-traditional materials like resins and plexiglass. I realize now that the images I create are directly from my non-traditional childhood. I was raised by my grandparents in Palm Springs, California and practically lived in the swimming pool of their retirement condo. Even my hair had a permanent green tint from the chlorinated pool water. I always loved the cool, weird patterns the sun created in the swimming pool. Little did I know that those undulating patterns would become such an important aspect of my image making as a visual artist. As a mixed media artist, I constantly try to find new ways to depict a contemporary vision of undulating water through the mediums of drawing, painting, and sculpture. I see the chase of an idea and allowing myself to go down the rabbit hole as one of the most important parts of my life as a visual artist. What connects all of my different series is this concentration on imagery that depicts water in movement and an interplay of reflected light and shadow just like what I spaced out on as a kid in the pool..
I’ve been an artist my entire life. Even 4 year old me proclaimed I was going to be an artist after seeing a Bugs Bunny cartoon where Bugs was dressed like an artist painting on an easel wearing a French Beret. No matter what other jobs I’ve had be it a cake decorator, an independent curator or Gallery Director in Manhattan, I’ve always been an artist first. I moved to New York after earning my MFA at MICA Mount Royal Graduate School of Art in Baltimore to pursue the art dream. I’ve worked hard at it and have been lucky to exhibited in Galleries, Museums and Universities across the United States and internationally in Berlin, Cologne, Taipei, Cape Town, Istanbul and Ankara. In 2020 just as the pandemic hit, my husband and I moved to Milford, Connecticut to build a new studio along the Long Island Sound which is a constant inspiration for my artwork.
“Water Under The Bridge”
By Carla Goldberg
What inspired you to utilize sculpture as a medium?
I seemed to have drifted into non-traditional sculpture when I was a student at the University of Redlands and took to it naturally. I was part of their innovative program at The Johnston Center for Integrative studies that had at its core a non-traditional form of study that encouraged self-directed investigative explorations and out of the box thinking. I was part of a group of five students who created our own course with our Professor delving into non-traditional sculpture one semester. Part of the class was creating a sculpture a week to a theme along with studying and presenting to the group artists we found. In a crazy coincidence, one of the artists we studied, Salvatore Scarpetta, ended up as my professor and mentor at MICA. When I applied to MICA, I did not know he taught there.
“Untitled”
By Carla Goldberg
One of a number of panels I am currently working on with rescued plexiglass from the temporary covid hospital at Jacob Javits Center in NYC during the height of the covid pandemic. I am planning to create a 5 panel hanging installation
How would you describe your ARTwork?
I describe my artwork as a fusion of sculpture and mixed media, though I prefer to think of it in terms of layering. Perhaps there is such a thing as a "layerist." My technique transforms two-dimensional drawings into three-dimensional "sculptural drawings" by using natural light or spotlights passing through the resin-coated parts of my drawings, which project shadow and light patterns on to the wall behind the drawing adding depth to my pieces. I know a work is successful when I see people tap the resin to see if they can dip their fingers in.
Can you discuss the inspiration and thought process behind your winner work?
There’s an interesting story behind the inspiration for this series. It all started when I was working on a different project, and a white oil ink pen exploded on the canvas. At first, I thought, "Wow, that looks like spit!" but then I realized it resembled seafoam. Later that night, while out at a brewery with friends, I noticed a similar pattern in the foam on a glass of beer. The next day, I began drawing on an old piece of plexiglass I had lying around in my studio. It just goes to show that you never know where inspiration will come from—sometimes an exploded pen and a beer can lead to a whole new creative direction.
As for the series itself, once I figured out the technique, I recognized that the process involved a form of mark-making that reflects the passage of time. The work is deeply personal, rooted in my memories of summers spent with my dad’s family on the Jersey Shore and travels to ports around the world with my grandparents. Sadly, my dad passed away when I was 16, and my grandparents have passed as well. This series in particular keeps me connected to those cherished memories with my family.
My winning piece, "Starboard," is inspired by a memory of looking over the side of a cruise ship at night in the Caribbean. The lights from the ship illuminated the dark water, making it glow a beautiful blue. The drawings used to be solely of places I’ve traveled to but recently I started asking friends to send me photos or facetime with me during their travels so that I can have a shared experience and inspiration from their travels.
“Starboard Seafoam”
Sculptural Drawing
By Carla Goldberg
Can you walk us through the technical steps of creating your finalist work?
This work is created on two different panels. Panel one is drawn on with connecting polka-dots on the front and back of a panel of plexiglass. This can take up to 6 weeks to draw. I then frost the front of the panel and hope I didn’t mess up which can happen. The frost can be unpredictable but worth the risk since the frosting softens the look of
the drawings done on the back. I then paint resin in the open areas of the drawing and time the drying process so that I can add swirls to add texture and pattern in the resin itself. The resin creates almost a porthole effect looking onto the second panel which is hung an inch behind the drawing. The quality of light directed at the drawings, the time of day and the position of the viewer alter the projections of light and shadow so the artworks look changes and is more of an experience in person.
What do you hope to communicate to an audience with your work?
A sense of beauty, mystery and connection. Just as all roads are connected, all oceans are connected and in essence WE are all connected now and to our collective past.
“Rocky Neck”
Sculptural Drawing
By Carla Goldberg
Can you discuss your biggest success since starting your artistic journey?
I don’t think in terms of biggest success but rather in reaching goals. I keep a notebook of short, medium and long term goals. One of those was to exhibit in a first floor Gallery in the Chelsea Art District in Manhattan. One of those galleries with an outdoor glass poster box holding advertising posters of their current show. I wanted to be in the gallery and on the poster in the glass box. A pretty specific wish and IT happened! And almost didn’t. I had sent an unsolicited submission to Tria (sadly closed now). A year later, they reached out to me wanting to see my work in person. I drove a bunch of work there. Parked and had to haul it for blocks. I’m now all sweaty, a little out of breath, thirsty and the meeting wasn’t going well.
As I dejectedly wrapped my art up to take away, I pulled out a piece I had been working on that I had thrown in on a lark. There was only one that I had ever made. A toy monkey embedded in a ball of resin. They loved it and wanted to know what else I had. They asked about this toy and that and I just kept saying yes but that they were still curing in my studio. Hot Wheels car, Army soldier, a baby doll and a rubber ducky, Gumby and Pokey, Barbie, etc… yes all curing and ready soon. I bluffed that day, but by that night it was the truth with me in the studio till 3 am. It just pushed an idea I was already thinking about into production and I got the show! Other big goal moments include the first time showing outside the US. My first solo, first sold out show, the first time exhibiting in Berlin was big for me. And more recently in Taiwan. My first show in a museum and my first work becoming part of a museum collection meant everything to me. Because I am always working hard towards the next goal, a friend once asked if I ever took the time to appreciate and celebrate the moment. Oh yes. Yes I do. Very much so.
“Stonington”
Sculptural Drawing
By Carla Goldberg
Can you share with us the best piece of advice you have received so far?
When I was in Grad School, I had one professor who loved my work and the other was super critical. If I changed work to please the critical one, then the other professor would dislike the work. This went on my whole first year. I was so upset and confused by this. I was definitely a people pleaser back then. One day both were in my studio and neither was happy. I mean just ripping in to my work. Through tears I was like WHAT DO. YOU WANT?!!!! I can’t make you both happy!. Then it dawned on me that they were trying to get me to realize that I needed to trust my own voice. What a revelation! I’m so thankful for the hell they put me through that year. It has freed me ever since from worrying what others think of my work and the anxiety of failure. I cannot please everyone and everyone’s a critic so I better be sure I LOVE what I’m doing for me. I keep in mind when experimenting that no one has to see it. I can keep it locked away or alter it any time.
“The Jersey Shore (Detail)”
Sculptural Drawing
By Carla Goldberg
What projects are you working on currently?
Currently I am working on components of a really long continuous drawing. It’s only 15” tall but each section is 25” long and so far I have 7 panels (175”) of connected drawing done. I want to find a venue where I can have the drawing go around the whole room. 20 panels or more. Another project is rooted in the pandemic. Recently, I started collecting old post pandemic covid shields as businesses take them down. It keeps the plastic out of landfills and I honestly enjoy working around or incorporating the damage on these plexi panels. The panels I am using for the hanging installation came from the Jacob Javitz Center in Manhattan that was temporarily transformed into a hospital at the height of the pandemic.
The work is black and white and it feels like its’ about the ceremonial rites and eulogies we those lost souls never had during lockdown. I know it’s a dark subject but I need to honor the origins of the materials I am using. It’s part of the process of experimenting. Allowing your materials to speak to you. At the moment, salvage and rescue is a big part of my process. Every bit of plexiglass in my studio is used. I also feel the need to reduce my carbon footprint as an artist when I can.
“Twelve Beaches On Taiwan Shores”
Sculptural Drawing
By Carla Goldberg
What is your dream project or piece you hope to accomplish?
The other main series I do is called Ripple Effect. This work I would love to see up permanently in Museums. Walls completely covered with hundreds of panels. I’m including a photo of a smaller set.
“Winter Morning On The Hudson”
Sculptural Drawing
By Carla Goldberg
As a winner, do you have any advice for artists who want to submit to awards, competitions, residencies, etc.?
My advice for artists looking to submit to awards, competitions, and residencies is to be strategic and selective. Constantly search for open calls that align with your style and offer tangible benefits, whether that's prize money, a notable juror with connections, work to galleries or museums, exposure to a large audience, or the opportunity to have your work featured in publications or written about in essays. Since there are plenty of scams out there and application fees can add up quickly, it's crucial to do your research and choose opportunities that will provide the most value.
Regarding residencies, if there's a specific place you're passionate about exploring, chances are there's a residency nearby. Residencies offer a unique opportunity to immerse yourself in a new environment and culture, providing experiences that most people will never have the chance to enjoy. This can deeply enrich your work and broaden your creative perspective.
“Winter Morning On The Sound Triptych”
Sculptural Drawing
By Carla Goldberg
Lastly, I like to ask everyone what advice they would give to their fellow artists, what is your advice?
My advice to fellow artists is, never stop creating. Life will inevitably present moments where other events take precedence, like the birth of a child or a demanding job. During such times, it’s okay to slow down, but don’t stop completely. Aim to participate in at least one art-related event every year. It’s difficult to restart if you’ve stopped for a long while, and gaps in your exhibition history can be detrimental. Abandoning your art actual means setting aside a part of yourself. You deserve to feel whole, even when caring for others. This isn’t selfish; it’s about maintaining your identity and staying connected to yourself and connected to the business of making and exhibiting art. Don’t miss out on those crucial years of artistic development and making connections.
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