As Good revisits her Living Painting series, she finds herself more personally connected to the imagery, seeing her reflection in carrying the burden of life’s experiences within the works. Despite the meticulous and exacting creative process – using hundreds, even thousands, of years old recipes to “paint” the compositions – these new figurative works incorporate abstract elements, embracing a sense of freedom in her approach to representational imagery. Good’s encaustic/cold wax series, on view in the Rock Room, were initially begun as a daily meditative practice during the pandemic to document the passage of time. The works are constructed in various materials with oil paint to accentuate the collective familiarity of our memories from the area. As with all of Good’s oeuvre, material regeneration is a prevalent connection within her work. Her ability to elevate industrial elements into fine art materials is consistent throughout the exhibition, serving as a linear narrative that underscores her dedication to pushing boundaries and exploring the breadth of her creativity.