Michele K. Goodwin was born in San Diego, California. Her appreciation for art began at a very early age under the influence of her Grandmother, enamellist, Emily Moser. For several years she lived in San Francisco where she exhibited her work, studied and taught classes at the Academy of Art University. Today she lives in San Diego and continues to teach on-line courses at the Academy of Art University.
        Michele’s work can best be described as contemporary realism. Her paintings intersect tradition and innovation. Subject matter emanates from nature, sentimental gorgeous landscapes, and drama derived from color and extreme light. Her paintings are journeys that oscillate between the Abstract obsession with the soul, a two dimensionality of surface texture, and the need to communicate mystical, meaningful memories with a decorative appeal.
        Her compositions begin with wood panels using, discreet, muted yet translucent layers of oil and seductive pigmented encaustic to create a luscious environment. A palette knife creates textures used to reflect light, and encaustic creates dimension and enhances special depths. Michele says, “My goal is to create strong, sensuous paintings that are engaging and elegant.”
        Michele Goodwin’s experimentation, and spontaneity or recreation of light and space produce a means for viewers to form an identity within. The resultant compositions express a personal spirit with an energizing sense of materiality and surface, yet these images also retain a three-dimensional quality of space in which to enter.
        " Though my work is image driven through an exploration of process, in these paintings I've ultimately looked for a "field" of subjective sensation. I feel the voice of the material is also responsible in creating an emotional response within the viewer, thus being a catalyst for a sensory experience within the conscious self, one that is reflective and perpetual. Naturally as an artist, I strive to bring life to forms. I too choose, in given areas of the surface, to leave the medium (paint, plaster, encaustic) just as it is, simply material. I believe through the engagement of beauty and energy (images and paint) the literal transcends the definitions of the objects.. "