![]() (Goffman has used similar methods to make larger works, but not for this exhibition.) Their fantasy architecture was realized on a miniature scale the largest piece, A Lady Listens to Music, 2022, was just nineteen inches high. The pieces were either mounted directly on the wall or displayed on clear-acrylic shelves attached to it, emphasizing the works’ pictorial nature. She realized her seductive yet unsettling visions with a 3D printer, mostly in transparent tinted resin or gray nylon, the latter a thermoplastic that, to my surprise, is moldable at high temperatures and solid when cooled. Using modeling software, Goffman concocted her deliriously artificial paradises and stately pleasure domes with heady amalgams of Baroque style, chinoiserie, and Disneyesque whimsy, peppering them with stray bits of Brutalism culled from Yugoslavian war monuments. But, with their focus on setting rather than story, they left the cause of the fall uncertain. Genevieve Goffman’s “Before It All Went Wrong,” a show of half a dozen small intricate sculptures, suggested a nostalgia for some lost dreamworld.
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