Steph Goodger was born in Tonbridge, Kent. She attended the University of Brighton, 1997-99 and UCA, 1992-95.
Steph is one of the five prize winners in the John Moores Painting Prize 2020. She also exhibited in John Moores 2016 and 2004.
Steph has exhibited widely in the UK and internationally. In 2020, she exhibited with another painter in two public galleries in the Bordeaux region of France: Le Pôle Culturel de Bois Fleuri, Lormont and Le Forum des Arts et de la Culture, Talence. This was followed by a solo show at Christie's International Real Estate, Bordeaux.
Recently in the UK, Steph had the honour of judging the BEEP Painting Prize 2020, with Elysium Gallery, Swansea. She also took part in, Every Day, at Terrace Gallery, London (2020).
Projects for 2021-22 include a collaboration with Elysium Gallery, Walking in Two Worlds, a large touring exhibition beginning at Swansea Museum and going on to the Caernarfon, then Folkestone Triennial Fringe and Oceans Apart Gallery, Manchester.
John Moores Painting Prize 2020 (Prize Winner), 2016 and 2004
Christie's International Real Estate, Bordeaux 2020 (solo)
Le Forum des arts et de la Culture, Talence, Bordeaux 2020 (two-person collaboration)
Le Pôle Culturel de Bois Fleuri, Lormont, Bordeaux 2020 (two-person collaboration)
Every Day, Terrace Gallery, London, 2020 (group)
Creekside Open 2019 and 2015, APT Galleries, London
Two-Fold, Oceans Apart Gallery, Manchester 2019 (group)
Les Peuples Figurants / History's Extras, Cornerstone Gallery (Solo)
Liverpool Hope University, 2018
Discerning Eye 2017 and 2015
Le Grand Prix de l’Institut Bernard Magrez, Bordeaux, 2017
The London Group Open 2017, 2015 and 2013 (Winsor and Newton Painting Prize Winner 2013) The Cello Factory, London
National Open Art Prize (South East Prize Winner) 2014,
Somerset House, London
Threadneedle Painting Prize 2012, The Mall Galleries, London
BEEP Wales Internationale Painting Prize (Joint People’s Prize winner) 2012
Elysium Gallery, Swansea
Statement of Practice
‘Past and present appeared, through a continuum of imperceptible changes, instantaneously crushed into a single moment of painful impact.’
Steph Goodger (The Motherland) John Moores Painting Prize PR 2020
The unbridgeable distance between past and present is both fascinating and frustrating to me. I spend my time trying to unravel its mysteries. Social history and geography form starting points, along with literature, photography and architecture.
The photographic record is itself a form of the past infiltrating the present. Many ideas for paintings have derived from photo-journalism, both historical and contemporary. I am most drawn to subjects of revolution, war, industrialism, colonialism and migration, and their respective spaces. Their vessels, such as, the transatlantic ocean liner, the claustrophobic migrant ship hull, rows of vertical Communard coffins, artillery shells, the photo-frame and the mourning locket; and their architecture, with the barricade, the bunker,
the trenches and the camp.
An interior can feel as if it is breathing, like a body. It can be empty and yet still full of the energy of those no longer present. A landscape can hold our trauma within it, and carry with it the physical traces which pin-point events.
I view the painting space a bit like a theatre stage; a malleable, transformative space where fabrications of interiors and exteriors can be interchangeable, and where their particular properties can be freely examined.
Interior and exterior are also different states of experience. The physical reality of space with met with a blend of feeling, fantasy and expectation. A short line from Gaston Bachelard’s, The Poetics of Space, goes around in my head,
'Immensity is within ourselves.’