"Art is the elimination of the unnecessary."
Born in Hampshire, Trudy Good spent her younger years exploring and romanticising the beauty of figurative painters work such as Rembrandt, Richter, Sargent, Degas, Giacometti and Bacon. From an early age she was drawn to the worlds of these artists and of the Pre-Raphaelites, where a subtle, supernatural beauty seems to be hiding under the breath of the human form; worlds where something beyond our natural perception is present.
Although Good did begin an academic art education she opted out after a year, disillusioned with the institution and wanting to find her own path uninfluenced by current trends and teachings. In an effort to discover her own artistic sensibilities, she began over a decade-long journey of continued self-instruction and independent study.
Her use of charcoal and limited colour in selected areas is inspired by the haunting quality of antique photographs and monochrome qualities of Grisaille. 'Grisaille has a mysterious quality to it, and that mysterious quality is also hopefully carried into the way I will treat the human form. The pictures become a living, breathing thing to me when the fabric only is in colour and the charcoal is quiet. It seems to me that this use of an adaptation of Grisaille, against the punctuation of colour can give the sense of a very surreal space and unnatural quality and depth within the work'.
Good has developed a pared down approach to composition as well as her palette. It is the result of her further search to find a way to simplify her work by deciding not to use props or backgrounds. Not only does this add to the evocative mood and other worldly feel, in addition it draws the viewers attention to what Good wants them to see, to feel; to what is important in that particular piece.
In life we each choose to allow others to see of us what we will, but we keep our most private thoughts and feelings very much in shadow, hidden from others. This is an idea that is explored in Good's images of the female form, especially in the charcoal and white pastel drawings on black ground. The use of strong directional light magnifies this effect.
'The sheer beauty of a single line, the way that light plays on her hair, the feelings conveyed by her body language in a single unguarded moment- these are things that inspire me time and time again. Sometimes a sense of peace, sometimes melancholy, the million different emotions that make up human nature, every one interests and inspires me.'