In the spacious loggia of the church of St. Barbara in Raša the artist deals with an icon of art history: Guernica, the monumental painting that Pablo Picasso painted in I937 as a reaction and commentary the fascist bombing of the Basque town and exhibited tor the first time at the World’s Fair in Paris in the same year. The blending of the source of the image (Picasso) and the spatial context (Raša), both created in 1937, is striking and is further reinforced by the architectural framing in the style of Italian Rationalism. War, destruction, politics, beauty, art and painting discourse overlap in the pavilion annex of the church to form an impressive memento mori. Goodwins wall relief adapts Picasso’s original grey colour palette and abstracts the war atrocities he depicted into some 260 ceramic elements. “Clean of form, these individual ceramic pieces in monochromatic and subdued tones, collectively create a pictorial vista, allowing narrative and poetic possibilities to arrive through the process of abstraction. Essentially it operates much like a painted image, if one that materialises over a fractured ceramic surface.” (Goodwin). Complementing the relief already created in 2022, the artist has developed ten specially designed stools for the pavilion that invite visitors to stay and contemplate. Here, too, the design triggers a formal echo, as the seating is reminiscent of the legendary Ulmer Hocker by the Swiss artist, architect. designer and politician Max Bill. (Excerpt from: Christoph Doswald, Curator and author for the exhibition catalogue, Landscapes of Desire, 4^th Industrial Art Biennial, Istria, Verlag für Moderne Kunst, Vienna, 2023