Caitlin Goebel’s (b. 1989, USA) over-the-top and Kitschy work is inspired by and composed of 20th and 21st Century ephemera such as disposable tablecloths, fast-food advertisements, pornography, glitter, and faux flora. She addresses the porous boundary between self and reality by exploring autonomy, automation, consumption, intimacy, magic, and prophecy. Goebel creates paintings and collages through a process of manifestation and manipulation that begins in materiality and finishes in conceptualism.
Her work has been featured nationally in group exhibitions, including The Patriot at O’Flaherty’s (New York City, 2022), Fan Mail at RedLine Contemporary Art Center (Denver, 2019) Juicy at The Front (New Orleans, 2017), Gone Soft at Pehrspace (Los Angeles, 2016), and Bright Young Things at Gallery of Contemporary Art (Colorado Springs, 2015). Her solo exhibitions include Jester’s Privilege at The Ent Center for the Arts (Colorado Springs, 2022), The Thing That Isn’t There at The Tim Gill Center for Public Media ( Colorado Springs, 2018), Missing the Point at AHA Gallery (Colorado Springs, 2016), Correcting/ed Objects at the Heller Center for the Arts and Humanities at University of Colorado (Colorado Springs, 2015), and Horror Vacui at The Modbo (Colorado Springs, 2013). Goebel was co-owner and curator of Rubbish Gallery in Colorado Springs and founder and curator of CLOSED Gallery in Denver; Goebel guest-curated Cybercy: Exploring the Post-Internet Matrix, at the Gallery of Contemporary Art (Colorado Springs, 2017), for which she was awarded a Kick-Ass for Art Award from the Gallery of Contemporary Art.