Meet George Goodridge | Artist / Designer

We had the good fortune of connecting with George Goodridge and we’ve shared our conversation below.

Hi George, how do you think about risk?
I’ve been very conscious about risk taking throughout my life and career. Let’s face it, there are easier paths to follow than the arts. However, risk taking to me has always been kind of a no brainer. I’m one of those people who has never had a nine to five job and always followed my instincts adhering to what was timely and exciting. I’ve never taken on projects that were just about the money. It has always been about the lifestyle and the creative endeavors involved. Even though the risk of failure was always at the door, I’ve somehow survived and even prospered throughout life. But keep in mind, I’m always looking for the next project with no parachute. Sound scary? A bit, but it’s like anything else, eventually you get used to it.

Probably the best way to understand how risk taking has helped align my life and career for my next chapter is to share some historical references and chronology of my path. Hot out of the School of Visual Arts and the School of the Art Institute of Chicago my first gig was working for a huge conglomerate pharmaceutical ad agency on New York’s 59th Street for creative season. I had no idea what I was doing when I first hired but I took the risk or opportunity as some would suggest. I did get hired for a second season so I assume that it all worked out. In between creative seasons, I worked as a graphic designer for NBC at 30 Rockefeller Center and Swiss Air while starting a small design agency with two friends from SVA. The outside pressures and deadlines were fierce. After a short residency at the Chelsea Hotel, which was a trip, I received a call from Miami that challenge everything I knew professionally, but at a huge risk. “Hey man, do you want to go on the road and shoot videos for MTV?” Little did I realize there were almost no paid crews working for MTV at that time. Most of our works were self-funded by our sponsor and shot on spec until MTV agreed to buy. We did manage to hold ourselves afloat for a few years however. Whew.

This was during the “video explosion” in 1983. Five of us assembled a full service mobile video team called the Men in The Blue Suits. We covered the East Coast, the Caribbean and Europe shooting bands, concerts, backstage antics, music news and local color surrounding the pop culture of the day. We even gained a bit of celebrity status as the MTV guys. These shoots resulted in short segments aired daily as Music News for MTV. The bands were the Flock of Seagulls, the Fix, the Ramones, the Clash, Adam Ant, Boy George and the Culture Club, the Sun Splash Music Festival in Jamaica, the Redding Rock Fest in England and way too many more to mention. I became a sound recordist, made animated video shorts, designed graphics and cut back door contractual deals with promoters while making the first of its kind video magazine for our sponsor Instant Replay, an experimental video production company based in Miami. I eventually began writing and recording my own original multi-track song demos to pitch to artists and labels of which I have about fifty in the can. No signings as yet but I’m still at it. Keep in mind, I had never done most of these required duties before. Still, everyone wanted my job. This didn’t pay off very well in dollars but the experience was invaluable and more fun, crazy hours and hard work than can be imagined.

After the Men in the Blue Suits broke up, a lucky break once again had me in demand to design sets and art direct commercial spots for the likes of Budweiser and other huge brands which led to designing and art directing for feature films and television. Since that time, I’ve worked in Hong Kong, Beijing, Australia, all over of the US and the Caribbean and received an 829 United Scenic Artists union card. Risky? You bet. You’re only as good as your last shoot so you can go six month or more unemployed. To get these jobs I actually extended the truth, for lack of a better word, to promote myself since I had no prior experience in this type of upscale film production. But again, I had some background skills, no fear and somehow it all worked out which allowed me to supported myself with a new BMW and a cool living space.

My lifestyle improved significantly and socially. I became quite the dude, ha, ha and a little full of myself I’m sorry to say. Being full of myself didn’t last very long. These projects are really difficult all-encompassing projects that literally became my whole life. Long hours, massive responsibilities, hair trigger deadlines, production company indecisions, agency politics and a bit of back biting with the blame game being played every so often. At times I wondered what exactly have I gotten myself into.

I will say that designing and managing art departments for film projects has taught me how to manage multiple six figure budgets and taught me the skills that enabled me to design and build just about anything one could imagine. But what I haven’t mentioned yet is, I always just wanted to be a fine artist. In my down time I was constantly creating larger paintings and works on paper in several genres. Everyone told me not to go for the fine arts because it was just too risky and I would starve.

As far as relationships go, they were more or less intermittent for a number of reasons. I can truthfully say that it is a good thing that I didn’t have a wife or kids. They would have gotten really tired of my needs and choices quickly. Being that the motion picture survives through what states offer tax incentives, I would move about every four years or so between Miami, Los Angeles and New York to follow the work. Sound interesting? Try to imagine constantly starting over again and again in a large metropolitan city with or without a family. One word comes to mind, risky.

While stationed in Miami Beach in 1990, I was juried into the Studio Artist Residency program at the Art Center South Florida which is now Oolite Arts. This caused a huge conflict in my interests. I knew the huge risks of committing to a fine art practice but my gut said I can do this. The art world was certainly a different world. The outside pressures were off but my internal pressures to produce unique new works was on. The casual lifestyle, the comradery with other artists and the free spirited events and lifestyle seduced me more than I could believe.

At the Art Center, I was extremely productive and produced many significant and cohesive bodies of work. My fine art career began taking up my full attention which initially had nothing to do with making a living. Fortunately, I was awarded shows and sales were finally made without paying gallery commissions from a somewhat storefront on Lincoln Road. There were also larger more public commissions awarded with significant press from the George Perez’s Related Group, Royal Caribbean Cruise Lines, Banyan Capital, United Airlines and others. I was saved. This proved to be worth the risk once again. I would often reflect thinking that I’m actually doing what I initially set out to do. I can’t tell you how nice it is to be recognized for your personal works without being told, “It’s nice but this needs to be changed.” On one occasion I was asked by a curator who purchased a large commission, “George, does this have to be exactly like this?” All I answered was yes. No further discussion was needed. It was thrilling! See, when you place a personal work it seems like you are placing a family member, not just an object. It is truly an inspired way of thinking which fosters a whole new type of self-respect. That alone made the transition so worth the risk.

As of lately I’m risking it all again. Three and a half years ago I moved from Miami Beach to New York after my studio building on Lincoln Road was sold to developers. Having lived in Manhattan on and off for many years, I noticed a big change. The larger mass of edgy creatives had moved out. Being a sucker for pop culture as always, I did my research which suggested that Bushwick is possibly the largest fine arts community in the western hemisphere only to be challenged by Berlin Germany. I had only been to Brooklyn maybe twice over my many years in Manhattan but it sounded exciting so I was all in. Moving to New York with personal effect and a studio filled with artworks is no casual experience to say the least. Because there were more opportunities in New York, I felt it was the right move and I leased an artist live work space in Bushwick Brooklyn.

The good news is that I was fortunate enough to get signed on as one of the art directors for a few CBS episodic TV shows while scouting for a place to live. This was quite surprising and came from out of the blue. Apparently the universe does provide. I was also granted a free studio space with a generous cash allotment for materials at the Mana Contemporary Art Museum in Jersey City. The local artists in Bushwick share the same comradery that I experienced while at the Art Center and I have developed some recognition through gallery shows, a few significant sales and recent requests for commissioned works in a rather short time. Keep in mind that the risk was and still is huge. As you can imagine, New York art market is extremely competitive. Upon arrival, I only knew a couple of old friends in the film and television industry for support and I didn’t personally know any fine artists in New York at all. This transformation didn’t magically just happen. It took reaching out, risk and diligence, but so far, the payback seems worth it.

To managing risk, I will say to trust your gut but do the work. Oddly enough I’ve read science based articles that suggest the same about how your gut instincts directly affects your neurological paths to your brain. Some science even refers to your gut as the “large brain”. Just saying. To me, success isn’t just about the money, power, position or what others say you should or could become. It’s about living your dream in a sustainable way no matter how diverse it may be. As long as you are moderately realistic, focused, proactive and find the experience joyful, there is a way to succeed. I’ve experienced hard times and seen times when I had way more than I needed. For me, risk taking has showed me what success really is. It’s having the freedom to be one’s true self. This only happens by being present, honest and consistently diligent in your efforts. I’ve landed opportunities I would never have thought existed through web searches and even by just asking questions to like-minded people. If you honestly love what you do and analyze your path, you’ll probably realize that you are right where you have prepared yourself to be.

Let’s talk shop? Tell us more about your career, what can you share with our community?
My professional life has been quite varied over the years. I’ve worked the fine arts, advertising, film, television, theater, interior design, concert staging and photography. In recent years the fine art and design for film and television are the most prevalent. I’m a sculptor, painter, set designer, musician, song writer and producer of sorts that manages crews and budgets for creative projects. My creative instincts lean towards unique, fresh, out of the box solutions that are tasteful, upbeat and positive that rely on invention rather than appropriation.

My personal fine art and commissions questions themes regarding diversity, visual kinetics, identities, object pairings and timely narratives pertaining to the concrete world and popular culture. In regard to form and color, I am a modernist and prefer the more biomorphic over the rectilinear. Many of my works have lineage to the Post War New York School and the forward architectural practices of Zaha Hadid and others. On many occasions I rely on what I refer to as form signaling and color science which maps the psychological and emotional reactions of how we perceive form and color, rather than basing those choices on my personal aesthetic. This allows my works to communicate more universally. I generally work in a chronologically numbered series recognizing that linear research seems to bear deeper discoveries while telling an evolutionary story.
For more information and images go to www.georgegoodridge.com

My work in film and television rely on creating environments that become able characters which move the scripted story forward. These environmental installations are tailored to reflect a mood, place or mirror the actors personalities social strata and cultural nuances while being easily reconfigurable for quick access to changing lighting and camera positions. I’ve designed and art directed both contemporary and period genre projects for feature films, episodic television, national and international commercials, music videos, events and industrials. I produce set designs with furnishings, graphic arts, scenic paintings, specialty props, directorial presentations, budgets, storyboards and some special effects.
For more information and images go to www.geogoodridge.com

What I’m most proud of is how I’ve consistently pursued projects that I was honestly interested in and survived. I’ve had projects that paid rather well but didn’t satisfy my creative urges. They were short lived. If you revert back to my statement on managing risk, I believe it becomes quite clear how I arrived at where I am. Blind faith, trust in self and being forthright in my convictions with follow through. It always amazes me that if I pursue any practice with a sincere interest, doors seem to open and solutions and opportunities become abundant. At least those that are creatively oriented. There are obviously business politics within certain situations that are more difficult to navigate. That’s part of the game too. Other lessons learned are many but the key lessons are those concerning open mindedness, learning to listen and committing to ideals and practices. That may sound trite but it is so true. I can only hope the world will perceive my works as vital and facilitate my invention with respect while continuing to offer me a place to perform.

Any places to eat or things to do that you can share with our readers? If they have a friend visiting town, what are some spots they could take them to?
Since I’ve been a long time Miami Beach resident, I’d start with a studio visit at the Art Center or Oolite Arts as it is now known and introduce them to my artist friends and my new works. Then it would be off to 2nd street beach for an swim, a signature drink and a late lunch or brunch at a local area haunt. The water is always energizing and it makes one feel vital. Next, we’d take a walk out in the 1st street jetty and check out the cruiser liners. Then cruise South Point Park on 1st Street just to get into the Miami Beach vibe. This could be a casual any daily beginning. For those who aren’t hungover, which the beach is famous for, there’s a 7:00 am free Yoga class on the beach at 2nd Street which I attended frequently. It’s a magical time to be on the ocean and gather you better thoughts.

Depending on the day of the week and the season, I’d book a reservation at Joe’s Stone Crab or Osteria del Teatro. Joe’s is the oldest restaurant on Miami Beach and their hybrid, self-raised crabs are to die for. Literally the best you can get on the planet. I know the trick how to get seated quickly. Another favorite restaurant is Osteria del Teatro next to the Cameo theater. Amazing food, all Italian staff and they really carry on singing and such. I turned on a food critic from California to the Osteria and he wrote a glowing review once back in Cali with a person thanks to me for my excellent recommendation.

Over dinner we would plan our evening. Since South Beach is really a bar and club society, there are a host of places we could experience depending on the age of my bestie and his or her likes. It differs somewhat in accordance to that. There are so many cool bars and dance clubs to choose from, you can pick your pleasure with special events announced daily. On a big night out, the last stop is usually the Deuce on 14th Street and Washington Ave. It is a true legend with cheap drinks and a diverse crowd around 1:30 or 2:00 AM. The Deuce has been in operation since 1926. It was quoted as one of the top ten dive bars in the US in Playboy Magazine some years ago. The above mentioned spots are only preferred Monday through Thursday however. Once the weekend comes there’s a different crowd and most locals seem to find other things to do.

Since Miami and Miami Beach are waterfront cities I would suggest taking advantage of it. Maybe go snorkeling or scuba diving (if everyone is certified) in the keys. The underwater world is surreal. I’d say that would be a few day get out of town thing so I’d book a room for the night in Key West. A popular thing to do even with the locals is go to the wharf to watch the sunset. Sunset watching on the wharf is loaded with vendors, performers and who knows what else on a daily basis. It’s a bit of a circus. Then there is Sloppy Joe’s Bar which highlights live music and usually hosts a rowdy crowd. This is not the original location where Hemingway hung out but it’s just across the street. I liked the original that was smaller with a more intimate vibe but I’d still stop in. There are also deep sea fishing trips, sail and power boat rentals both small and large from many marinas throughout the Keys, Miami Beach and Coconut Grove. The choices are broad.

For a late afternoon, early evening jaunt, I would suggest Midtown Miami and a visit to Little Haiti. Midtown has been “found” as they say. There is world class upscale shopping in the Design District, art and interior design galleries and nicer restaurants. I enjoy the small Greek and Turkish café Mandolin Aegean Bistro Restaurant on NW 2nd Ave. Nearby Little Haiti has some significant cultural venues including galleries and native culinary choices on the cheap. There’s also the Laundromat Art Space in Little Haiti which friends of mine developed. They have festive art openings and varied events that are friendly and fun for all ages. Not far away is a nightclub called the Ball and Chain which showcases local live music performances by local artists, not just electronica DJ shows. The talent changes often but it’s has a cool chill vibe and worth making the stop. They also serve Cuban style culinary delights.

Then there’s Calle Ocho which is like another country. The Versailles Restaurant’s mirrored walls will take you aback and the food is well prepared authentic Cuban fare. Calle Ocho has so much more to discover than just the dance halls that play tango consistently, art galleries, night clubs, authentic Latin American cuisine and so forth that there’s just too much to mention here. Truly an international experience and a must visit.

If my visitors are nature lovers, I’d visit Cooperstown on the edge of the Everglade. The Everglades is a unique river of sorts, not just a swamp. It’s the only one of it’s kind in the world and filled with wildlife. There are out back type secluded fishing camps, native American Seminole families and so many alligators running wild it’s hard to believe. Snakes too, so watch your step. There are also guided airboat rides, Native American settlements, an orchid jungle, canoe trips and more. It’s really quite amazing.

Since I am heavily involved in the arts, the Wynwood Arts District is hardly foreign to me. It’s a good night or afternoon or evening out but generally gets too packed for my taste during the weekends. I’d save this for a weekday. It hosts art galleries, restaurants, bars, coffee shops, food trucks, performances on occasion, design and fashion boutiques and tons of street art murals by very well-known world class artists. It’s also the hipster hang out. It can be amusing for sure and would easily take up an evening or two at least.

I’ve said enough for now but there is so much more which make Miami and vicinity something special.

Who else deserves some credit and recognition?
I have had way too many mentors, curators, gallerists, professors, directors and professionals from various fields in Chicago, New York, Los Angeles and in Miami that empowered me to list them all so I’ll choose just one. I have to say especially in my fine arts career, I and many others owe a great deal to Ellie Schneiderman. Ellie was a friend to all and the visionary that launched the exciting art scene on Lincoln Road that made Miami Beach and Miami a place to recon with in the arts. She was brave and enlighten when she saw the opportunity to buy the many Lincoln Road buildings when the buying was right. that created the Art Center South Florida, now Oolite Arts.

More than that, she was present, personal and like a good mentor, she would personally challenge you to apply for a grant on time or submit your work to a jury. I can’t even tell you how many lives she affected in a positive way. I for one would not be who I am today without the opportunities she provided early on in my career. She has passed but will never be forgotten.

Website: http://www.georgegoodridge.com and http://www.geogoodridge.com

Instagram: https://www.instagram.com/geogoodart/

Facebook: https://www.facebook.com/geogood