O, Rapture! Capture me and take me away to the depths of your passion. Wrap me in your embrace, calmly sway me virulently, vigilantly and captivate my essence eternally. I am the curve at the edge of the circle, the cycle in the path of circumference, the flirtatious collection at the end of a sentence. I am feminine. I am round and receiving. I am open. I am, Rapaciously Yours.


Frances Goodman’s first major US solo exhibition at the Richard Taittinger Gallery is a show of feelings through visceral sculptures. The first female on the gallery’s roster, “Rapaciously Yours” elicits a voluptuous rolling loll inside the psyche of the contemporary woman. “I think it’s a political decision to be an artist,” says Goodman. “To have something you really believe in and that you want to express,” is the gesture with which she stands upon her stage, and her voice in the work is rotund, bellowing the unattended woes of wayfaring modern maidens. Articulating the “babbling undercurrent” as she calls it – the tumultuous reality that women face daily of being hyper sexualized and undervalued – is the focus of her work. To the reality that has so long been inverted to the interim, she seeks to draw out and reveal “what’s really going on underneath.” Surface material from the conformational talismans of the mainstream contemporary woman undulate to create a rich texture and volume for the exhibition, the air in the gallery thickened like heavy breathing.


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