Goldberg has harvested a prolific and diverse body of work. Enchantingly
dream-like at times, his paintings are charged with emotional
resonance, rife with moody symbolism. We encounter dreamy visions of
sun-dappled gardens, poetic architectural vignettes, and
poignantly-carved portraits of noble, everyday characters which manifest
Goldberg's evolving stylistic technique. Essentially self-taught,
Goldberg has shifted from an exacting Realism to a more liberating
Impressionism. His unconventional thematic color and compositional
techniques have become part of his artistic statement. In doing so he confronts us, quite literally,
with the compelling message of his art. At times he poses unavoidable
questions: the muscular barman's tempting offer of amend-bending cocktail (Margarita Bartender) or the pained look of a
woman lost in a bitter-sweet reverie (Melancholy). Ultimately, be it a
nude figure daring us to consider his or her non-sexual physicality, a
gentle garden path tempting us to escape, the abrupt, dizzying pull into
the inner, abstract jungle of a Century plant, or the hushed stillness
of a pool's surface, where a looming, sunlight-enflamed jungle red
plastic ball aimlessly drifts on the water's limpid blue skin, echoing
the cool splashing of swimmers just gone. Goldberg's paintings unlock a
unique, often forceful portal view into another world.
--Max Harrold
Mark Lee Goldberg's accessible, vibrant, and emotional ''impressionistic
realism'' paintings are studies in light and color. For this
self-taught artist, painting ''full time'' had been a life-long dream.
Goldberg worked as a film and videotape editor for a number of years but
in '93 took a year-long sabbatical to ''find his voice'' as a painter.
This resulted in ''GARY'S GREENHOUSE AND GARDEN-1994;'' a collection of
18 botanical ''portraits.'' Much to his surprise the exhibit sold out;
Goldberg then reevaluated career goals, continuing to paint full time.
Goldberg's approach is rooted in the conventions of photo-realism
(Spanish Fountain #2, Yellow Orchids) yet more importantly these early
works represent his desire to honor the memory of his 11 year partner,
Gary Gleason, by portraying the plants Gary nurtured while battling
AIDS. The subsequent hot, harsh, cruel summer is evoked in The Broken
Pot's jagged shards on a blindingly white wooden deck; the seedlings
prematurely yanked from their soil, jarringly angled, doomed.
The subsequent series, ''MEN IN SUNLIGHT-1995'' marks the pinnacle of
Goldberg's photorealistic stage while themes of self-reflection,
isolation, depression, and anger are explored. (Self-Portrait With
Goatee, Michael, Empty Bench, Broken Pot #2''
''BOTANICAL GARDENS-1996'' vacillates stylistically and thematically
between the photo-realistic, somber Cranky Child In Greenhouse, Child
Posing In Greenhouse, and Century Plant, to the relatively uplifting
Brooklyn Conservatory and Windy Lilies.
BAR PEOPLE-1997, primarily influenced by the Impressionists, represents a
sharp diversion from sunlit botanicals. (Degas' Melancholy homaged in
Melancholy; Manet's Le Bar aux Folies-Bergere inspired Blue Daiquiri and
Margarita Bartender.) Girl Shooting Pool #1 and the allegory, Alter
Ego, continue exploring themes of isolation, grief, and detachment,
while stylistically inching away from Realism and more towards
Impressionism. Edward Hopper's themes of urban isolation and somber
studies of light and shadow are also in evidence, as seen in Shirtless
Bartender Yellow Awnings. Color and light, however, are celebrated in
works such as Flower Corridor, Fancy Tulips, and Canal Boat #1. This
period represents the dual influence of both Impressionism and Realism.
(see Amsterdam Canal #2, Bouquet-Red/Yellow Tulips. Liquor Bottles.)
The next significant shift in style and subject follows a workshop in
''Impression Color Theory.'' BEACHBALLS, BEACHCHAIRS, & BEACH
UMBRELLAS- 1999-2001 employs such techniques as the of layering colors,
glazes, and an astute depiction of color temperature as he explores the
relationship of light and shadow on fabric, water, and garishly colored
plastic. For the first time style BECOMES content.
The provocative CONFRONTAL NUDITY- 2000-04 is Goldberg's most powerful series to date, comprised of over twenty nude portraits. Each model directly confronts the viewer as if to say, "Yeah, I'm naked, so what? I don't have a problem with it; maybe you do." With this series, Goldberg stylistically inches back towards Realism, yet with him takes the Impressionists tools and techniques.
In 2003 Goldberg returned to his original career of TV editing and put the paintbrushes down for nearly 15 years, with just a few paintings in that time. After years of kind encouragement from friends and family, Goldberg started a new series; SUCCULENTS shown in 2017 and additional works in 2019. These go back to the familiar plants in sunlight subject matter, but compositionally are quite intimate; nearly abstract. These emphasis color to depict light and shadow, warm and cold.
The recent mixed media pieces are comprised
of small squares of color that are wired together, creating an intricate 3-D
abstract composition with lush swirling colors that, at a slight distance,
blend together so each square becomes it’s own color statement.
The imaginative viewer will perhaps also see
an image in the entire composition when viewed from a distance.
Goldberg has observed the viewer become very engaged and interactive, wanting
to view the work very close up and at various distances, sometimes squinting
their eyes or looking through a camera viewfinder in hopes of discovering the
realistic image. And, of course, there are always many questions.
Goldberg finds this extremely rewarding to
see people engage with and/or become moved by his artwork. Often people have
said they want to step into the painting.
