[00:00:00] Anncr: Welcome to Strung Out, the podcast that looks at life through the lens of an artist. Your host is the artist, writer, and musician, Martin Lawrence McCormack. Now here's Marty.
[00:00:18] Martin McCormack: Hey, welcome. Glad to have you with us. And we are, um, strung out the philosophy of art and I have with me again, uh, Cori Goodrich. We're in her studio home. But this time we're not talking about her music or songwriting or her writing or her performance, uh, on stage, though we probably can delve into that stuff too.
[00:00:42] We're, we're talking about what it takes to be an artist. And, um, I know on the last podcast you talked about how you kind of came into it, but, uh, for the people that are just tuning in. Tell us how you got into art itself, and why.
[00:00:59] Cory Goodrich: Um, well, I had no idea I had any visual arts talent, because I'd never done it.
[00:01:06] I mean, I did little sketches for my kids when they were little. But I just, it never, my sister is the artist in the family. She's a brilliant, you know, brilliant sculptor, and, and So I always thought that art was her realm, you know, and I was the music realm. And when I made the discovery about my father, who was a painter, um, I wanted to connect with him spiritually.
[00:01:27] So it really just started with, uh, pouring out my trauma and my pain on the page because I didn't have anywhere else that it could go. Ironically, as a songwriter, you would think that it would go there first. I was so wrong. I couldn't come up with any words because it was all so painful that the only way I could address all the things that I were feeling were to put it on the page without words in a different sort of, you know, storytelling.
[00:01:52] So I started that way. Um, I didn't really know what I'm doing. I still don't really know what I'm doing, but, um, because I have no formal training, but, um, I don't plan things. I just sort of see what comes out on the page and it's really fun and a discovery for me.
[00:02:08] Martin McCormack: And for people that are just tuning in on this podcast, I highly recommend you listen to the podcast previous, but, uh, uh, you found out later in life.
[00:02:20] That your stepdad was not your biological dad and that you had a biological dad with your mom from an affair and you were able to write a book about it and you were able to, um, hold it all together in a lot of ways, uh, not only with your, your, you know, new found biological family, but your, your brothers and sisters, you know, yeah.
[00:02:44] Everybody's halfsies, pretty much, uh, you know, and you're the only whole one. Right, I'm the special one. You gotta look at it, you know. But, uh, but you wrote a book, Folk Song. Uh, it's, uh, the title in it, um, uh, what's the full title though?
[00:03:00] Cory Goodrich: Folk Song, A Ballad of Death, Discovery, and DNA.
[00:03:04] Martin McCormack: Very cool. And, um, people can get that online, right?
[00:03:08] Yeah,
[00:03:09] Cory Goodrich: it's on Amazon.
[00:03:10] Martin McCormack: All right, great. All right. What medium do you like to use for your art? Um, tell me like, what do you, you know, when you start painting or drawing or, you know, describe your first piece that kind of came out of this whole, uh, situation of your family and trying to find answers.
[00:03:33] Cory Goodrich: I started in watercolors, but watercolors are freaking hard.
[00:03:37] So I don't know why I started there. And, um, and when I was doing all these things and just, you know, again, just experimenting and my new to me, brother Lee, um, He said, you got to work in acrylics because that's what our father worked in. So I started working in acrylics and I thought, well, this is really fun.
[00:03:53] And then I started doing oils because of course, you know, I'm never content to just stick with one thing. Um, so I sort of drifted into oils and then I drifted back into acrylics because I'm doing some things with a lot of dots and so I'm using, um, markers and things and sort of mixed media. So I, I vacillate between, um, acrylics and oils and I probably will never go back to watercolors.
[00:04:14] Martin McCormack: Well, yeah, watercolors are, are fun, um, where, where I've found them useful is, is like if you're on the road.
[00:04:22] Cory Goodrich: Yep.
[00:04:23] Martin McCormack: Yeah. And you can do like a little plane, plane air art or something where you sit down. And, um, on the last podcast, we talked about like giving yourself deadlines and that sort of thing. When you're, uh, a multi talented person.
[00:04:37] person like yourself where it's everything the synapses are firing all the time about just do this and do this. Um, sometimes, you know, uh, having watercolor is your best friend. Um, for those short little runs, you know, but it's interesting that your, your, your dad, Don, uh, went for acrylics and, um, acrylics is such an interesting, it's, it's the marriage between watercolor and oil, don't you think, in a way, because they're fast drying.
[00:05:07] Anncr: Yeah. They're
[00:05:07] Martin McCormack: vibrant. Um, and if you do make a mistake. Or, you know, you pay right over, you know, you keep it going. So what was your first piece then, uh, that came out of this? Um,
[00:05:21] Cory Goodrich: I can show you that upstairs. It was actually just a drawing and it was a drawing of, of my face with just Blah, blah, blah, all behind it.
[00:05:30] And it was sort of this, it's a cartoon, you know, that was the very first piece. And then I started doing, I did a couple of portraits of my father and portraits of myself, you know, hunched over like this in pain. And, um, and the, I think the most popular one I did was, called a ghost girl because it's a girl looking in the mirror, but the mirror image is blank, which is sort of deals with the NPE discovery because when you look in the mirror after you've had a DNA discovery, you don't know you see an image that you don't recognize because Because it's another family, you know, and so we just kind of feel blank
[00:06:06] Martin McCormack: and describe again for our viewers and listeners What MPE stands for?
[00:06:10] Cory Goodrich: So MPE it actually is a genealogical hard to say 70s 80s And it means not parent expected or non parental event actually and they've also adopted MPE Which is misattributed parental experience because some people don't like being called You And NPE, they've had something happen to them, not something that they are.
[00:06:35] So, um, so these communities, they're very similar to, uh, late discovery adoptees, um, who, who experienced the trauma of finding out at a late age that their parent is not who they thought it was. So I forget what the, where we started with this, but the trauma of it is basically,
[00:06:52] Martin McCormack: and you took that trauma, then you channeled it into your art and, um, And you discovered that, you know, the medium that works for him is acrylics and oils.
[00:07:06] And uh, it sounds like you're doing a little pointillism then.
[00:07:09] Cory Goodrich: Yeah, I guess so. I mean, I'm, the next show I'm doing is Sunday in the Park with George, so I mean maybe I'm channeling him. Yeah,
[00:07:16] Martin McCormack: maybe you are. And, you know, we didn't talk about that on the last podcast, but I'd like to ask you, you know, your performance art, your, your musicals and that, um, uh, how do you, how How does that all play in with this, you know, who you are and what you do?
[00:07:32] Cory Goodrich: Oh, interesting. Um, up till, up till the point of discovery, I found out the shows that I had done were actually sort of telling my story in a way that I didn't recognize the shows that I was drawn to. Um, so, uh, One of the shows I did was Ring of Fire, which is about, you know, which is about Johnny Cash, but a big part of the Johnny Cash story is the affair that he and June Carter had, which ended both of their marriages and eventually they have this love story.
[00:08:07] So let me tell you the story before I go on to the others. So in Ring of Fire, I sang, there's a beautiful song called Farside Banks of Jordan. Do you know that song? I know, but. It's written by Terry Smith. It's about what happens when one partner dies, it crosses over. And, and when the other, they say, I'll meet you on the other side of Jordan.
[00:08:25] So in this production of Ring of Fire, I'm playing my auto harp, and um, there's a point where metaphorically June dies and I pick up my harp and I walk off stage and sing the last line to Johnny on stage. Sometimes I would trip because I'm carrying a big harp, but um, but when it, when I didn't trip, it was a really beautiful moment.
[00:08:47] So fast forward to, my mother is in the hospital. She died because she had open heart surgery. She was 89 years old and there was no way that was going to go well. Um, but she, she did survive the surgery. But, um, then she went on dialysis and we eventually had to make the decision to, to pull life support.
[00:09:04] And, we're all around her bed. And, um, You know, I sang to her, I sang, uh, I can't think what it is, but I sang something to her. And then, she hadn't died yet. So I'm like, what do we do? What do we sing? What do we sing? Mama Mia was her favorite musical. So I'm like, you can't really sing that. Well, what is Mama Mia about?
[00:09:26] Mama Mia is about a daughter who has three dads and is trying to figure out which one is her real dad. Well, there you go. There you go, I've done that stuff too. So, can't sing that. So, I thought of this song, Farsight by Exe Jordan. And I sang it to her as she's taking her last breaths. And at the point where on stage I pick up my auto harp and, um, And I walk up stage and the line is, I'll be running through the shallow waters reaching for your hand.
[00:09:53] And that's the moment she died. I sang that line, my mother died. She stopped breathing. And the nurse reaches over and says she's gone. And I'm like, I'm going to finish the song. So I finished that last line. It was like, I think, Life is such a mystery, you know? And there's a part of me that believes none of this is real.
[00:10:12] This is real. This is all a dream, you know, and that was one of those moments that was so perfectly scripted and it wasn't scripted, you know, like the magic of that moment. Um,
[00:10:24] Martin McCormack: I want to, I want to touch on what you just said, you know, none of this is real kind of thing. As an artist, it feels like that, doesn't it?
[00:10:32] All the time. Um, and why is it? I mean, maybe isn't part of it. Because as an artist, there is that, there is rejection that's in there and, uh, and, uh, like I said, you're, and maybe I'm just, you know, uh, trying to put my own thoughts on you, but are, you know, we're in a world where I, I feel is consumed with celebrity, especially in the United States, everything and, and corporate celebrity, you know, and, uh, you know, But yet, as an artist, you kind of walk through life feeling like this isn't really it.
[00:11:14] Anncr: Mm hmm.
[00:11:15] Martin McCormack: And what, what is that? I mean, you know, here you are, you're just describing to me, you know, singing your mother's soul home. And, uh, you know, this, this part of life, you know, here, but, you know, you're also on stage with. June Carter and it's, it's tough, you know,
[00:11:34] Cory Goodrich: which is also unreal. I mean, maybe it's because I'm an actor too, that makes that at all, because you're doing this, you're living out this life on stage, but then you have your own life too.
[00:11:43] So it's kind of like all these concentric circles, right? I, so I was in Delaware. I said, my brother died recently and I went back to Delaware to help clean out his apartment. And I drove by our house where I grew up, you know, um, until I was seven and then I came home every summer and it was so much smaller than I remember it being.
[00:12:01] I remember there was this big hill that I used to roll down, you know, with my friend Gretchen and, um, and that hill was like this big, you know, and the house was tiny. But as I stood there looking at the house, um, Hopefully nobody thought I was creeping on the neighborhood, but but I was just struck by like I could remember that little girl rolling down the hill and Remember the the railroad bell that was outside and remember when my dad died and we had to take everything out of the house all these memories sort of Sort of make everything happen at the same time.
[00:12:33] I think as artists Um, I I think that we see that I think artists see in all directions Whereas maybe people who are not creative um see on a linear timeline.
[00:12:45] Martin McCormack: Could very well be. Uh, I, I, but it's, uh, the way of the artist is a, it's a, it's a, it's not for everyone. And in some ways is, is even though there is community, it's still pretty much a very lonely trail to take.
[00:13:03] Um, and, uh, which leads me to my next question. Um, before we take a little break, um, Being on stage is something like live musical performance where I, you know, the, it all goes up into the ether and it's over with.
[00:13:23] Cory Goodrich: Yep. It's ephemeral. Yep. Yeah.
[00:13:24] Martin McCormack: And it's wonderful in that way. And it's also forgiving because if you hit a sharp note that night, You're jacked up.
[00:13:34] It's gone. But uh, but that being said, uh, You've chosen other forms. Of art that are not ephemeral that they're, they're locked in to time. Oh, yeah. That's interesting. Yeah. With your, and you're addressing something that, you know, happened to you in time. So do you feel that's a coincidence? Do you feel your subconscious or is the muse directing you saying, You need to tell the story, but not enough to just do it on stage.
[00:14:13] You need to tell it so people in the future understand what you were thinking, what we were going through. It's kind of like Frida Kahlo's paintings, you know, I mean, you can see her angst and, you know, and she was married to the biggest jerk in the world. But, um, you know, but, uh, you know, that pain that, or, or just, you know, but there's joy with it too.
[00:14:35] Um, Um, does that resonate with you or, or is that something that's, you know, I'm just throwing at you and.
[00:14:44] Cory Goodrich: No, it's, it's really fascinating actually. I mean, because that's something we talk about in the theater about how ephemeral it is and, you know, we're kind of grateful for those people sneaking into the theater with their iPhones and putting it up on YouTube because that's like the only way it exists.
[00:15:00] Um, and I think part of the draw of. of writing, you know, as I'm so used to speaking someone else's words, channeling someone else's emotions through my own experience and my body, but, but, you know, but it's someone else's work. This is mine, which also makes it incredibly much more vulnerable to put this out there.
[00:15:21] But, um, but yeah, the book and the art, I didn't think about that, but you're right. Those are things that, you know, that, that are.
[00:15:28] Martin McCormack: Yeah. The big difference with stage and, um, being on stage as yourself is
[00:15:36] Cory Goodrich: you're yourself. Yeah. That's scary.
[00:15:38] Martin McCormack: And it is scary. It is scary. And it's also, um, uh, it's, it's not for everyone and art, permanent art, uh, with your paintings and such, um, that's also scary.
[00:15:55] Whereas somebody can, uh, look at your performance on stage as an artist, as a performer, and say, you know, uh, Corey Goodrich's June Carter Cash, you know, was X, Y, and Z. Here's Corey Goodrich's art. Here's Corey Goodrich's songs. Here's Corey Goodrich performing. Yes. With no net, you know, and, uh, that, that sort of vulnerability is, is, uh, not for everyone.
[00:16:26] Cory Goodrich: Yeah.
[00:16:27] Martin McCormack: Yeah.
[00:16:28] Cory Goodrich: Well, you know, as a theater performer, I can remember getting reviews for the same performance, the same night, the same show. You know, brilliant, wonderful, whatever. Oh, she's terrible. You know, like, so what's, what do you believe? Do you believe there was the same performance? So everything is filtered through the eye of the viewer.
[00:16:48] You know, whether art is good or bad is perfect, is subjective, you know? And that's where we get into the, it's not my business to decide what you're going to feel about my art. It's my business to put down my feelings and put down what I want and you can decide.
[00:17:01] Martin McCormack: And I would build on that saying that, uh, I think.
[00:17:04] One of the critics aside, we're in a society though, that, uh, uh, a person, uh, like you, um, you know, there's, there's that corporate artistic mentality that's so pervasive now. I mean, we can't even take, you know, your songs and drive to the nearest radio station and hand them off to somebody. Uh, that's how crazy it is.
[00:17:31] Uh, your art, you could put on a show, but if you're at a gallery, uh, a gallery is going to take 50 percent of what you do. All your hard earned work. Uh, and, but that's, that's nothing compared to, you know, a person that signs a 360 contract to be on stage and, uh, you know, our, our on the Grammys and everything, and they're just kind of, uh, fed through life.
[00:17:55] So as an independent artist, making that choice to be an independent artist and not saying, Oh, Chuck it all. I'm going to be driving for Amazon. lot of risk.
[00:18:08] Cory Goodrich: Yeah. And I think I'm very fortunate in my situation too. I have a husband who understands that this is what I have to do. And, um, there are times when I, you know, make 15 cents a year or something like my Spotify account.
[00:18:22] I mean, like 3 last year, I think so. Um,
[00:18:27] Martin McCormack: let's not talk about that. But that's, but
[00:18:29] Cory Goodrich: that's true.
[00:18:30] Martin McCormack: That's good
[00:18:31] Cory Goodrich: for
[00:18:31] Martin McCormack: Spotify for an independent artist. I mean, let's not, let's not joke around. Do you
[00:18:36] Cory Goodrich: remember the story? There was some band before they changed their rules where they, um, they made an album, which there were songs for three minutes, but it was silence.
[00:18:43] And it was like a 12 track out album or whatever. And they told their fans play this all night long because they would get, and they ended up making enough money to produce their whole love. Oh, that's great. It's amazing. I love
[00:18:54] Martin McCormack: it. Uh, well, I tell people, uh, uh, you know, tell Siri or tell Alexa. You know, play Corey Goodrich and, uh, and it doesn't matter if you're in the room or not, uh, you're making money for Corey.
[00:19:09] So if you don't want to like, you know, go to her, uh, you know, buy me a coffee site or whatever, pay Trent. I don't know if you have those, but the, the point is, is you can really help out an independent artist just by, uh, tricking the business at its own game. Um, that said. We are going to take a little break and when we come back, we're going to, uh, do a little, uh, walk around the gallery, uh, and, uh, and see some of, uh, Cory's art and hear her describe it as well for you that are tuning in through, uh, the audio stuff.
[00:19:43] You are on Strung Out.
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[00:20:19] Martin McCormack: strung out. And we are now, we've gone from the music studio into the artist studio and I love it. Um, first of all, I'm jealous. You have a dedicated space in your home.
[00:20:31] Cory Goodrich: I stole it, and I have my dedicated music space. You're
[00:20:37] Martin McCormack: like my wife. My wife, uh, she has an apothecary and all this other stuff, uh, which, uh, I, uh, I find my space slowly shrinks, so I'll have to meet your husband.
[00:20:48] Um, I see that you got all your brushes and everything, and, um, but, and this is, uh, this is definitely, uh, oil. Yes. And, um, no, this is a great setup. So for, for you, uh, artists, um, take note, you know, it's, You know, it doesn't have to be anything vast. I mean, I, I love the fact that you're just kind of, are you left handed or right handed?
[00:21:13] Right handed. You're right handed person. Okay. Yep. Very good. Okay. Um, let's look at some of your art. And we had talked earlier about, uh, the very first picture that you kind of challenged yourself, uh, into. Do you have that handy? I do, but
[00:21:26] Cory Goodrich: I'll have to dig behind you. Okay.
[00:21:29] Martin McCormack: Okay. We did a little cut and now we're back.
[00:21:32] So let's show this.
[00:21:34] Cory Goodrich: So it was literally just a drawing and I put blah, blah, blah back there and, and I mean, it was just kind of sketching out my paint. It wasn't certainly anything intentional. Um, and I sent it to my brother and he's like, this is, you've, you've got something, keep going on that. So then I started doing the watercolors and, and painting.
[00:21:54] And this is one of, um, so this is,
[00:21:58] Martin McCormack: Okay. One of
[00:21:58] Cory Goodrich: my first, one of my first oils where it's just me doubled over not knowing how to deal with any of this stuff.
[00:22:06] Martin McCormack: Well, it's obvious you have a real natural talent, uh, and, and it's just, um, it's, uh, the colors themselves. Uh, how do you go about choosing your colors?
[00:22:19] Cory Goodrich: I just, It's all instinct. So you're just kind of channeling the
[00:22:23] Martin McCormack: feeling. I almost feel like, I almost, almost can sense like an eye.
[00:22:28] Cory Goodrich: Yep. All right.
[00:22:29] Martin McCormack: Yeah. What's, what is that about? It's
[00:22:31] Cory Goodrich: me covering and not wanting to see the future, but still kind of wanting to see it. So, but putting up a barrier between, you know, myself and, and the real world.
[00:22:41] Martin McCormack: It's interesting. And you have your, your left hand there, right? Is it? Yes. And so,
[00:22:46] Cory Goodrich: So the wedding ring. The wedding
[00:22:47] Martin McCormack: ring. It's also there as a barrier a little bit. So this is really an insight into who you are and, and, um, and how you were feeling at the time. So, um, uh, do you go about titling your works?
[00:23:02] Cory Goodrich: Sometimes, I don't have a title for that one. You don't have a title. I mean, no, I will make things up sometimes. But, um, um, the later stuff I do more. These are really just sketches in the beginning and just explorations. Okay. This was the
[00:23:15] Martin McCormack: one that,
[00:23:15] Cory Goodrich: um,
[00:23:16] Martin McCormack: Let's, let's take a look at another one. Cool.
[00:23:17] Cory Goodrich: That I did that, that this is the one that resonates with the NPEs because it's looking in the mirror and just seeing, not knowing what you're seeing anymore.
[00:23:25] Martin McCormack: So people listening, what we have is almost kind of like a, it looks almost like Victorian to me. And, uh, you have a woman in a blue, again, I'll say kind of like a Victorian dress looking into a mirror, but there's no face. There's just the hint of a face. And I almost can, can almost see a little bit of a sadness in the face, but you, you deliberately obscured that face to the point of.
[00:23:55] Almost somebody has to kind of guess what that face is. Again, really beautiful uses of colors, folks. Um, I like the, the way you kind of are, you've naturally, you know, you've just kind of, uh, you, you've got the channel. I mean, you know, you're, you've got the muse. You're bringing in different colors to give this depth, um, to it.
[00:24:19] Painting and uh, the, it goes off into like a deep background. You almost feel like this is like almost on the corner or almost the mirror itself is almost on the corner and there's like an unknown further down
[00:24:34] Cory Goodrich: right there. Yeah. This shadow.
[00:24:36] Martin McCormack: A shadow, yeah. So there's a lot of intrigue in this. Explain.
[00:24:40] Cory Goodrich: Well, so, uh, after making my DNA discovery, um, I had an identity crisis. I didn't know who I was anymore, which is why the black, the blank face and the shadow of the shadowy man, I did a lot of early stuff about mountains. And ironically, I found out my biological father was from Colorado. So that was another thing that I was like, okay, how weird is that?
[00:25:01] The mountains. Yeah, that
[00:25:03] Martin McCormack: Western Sea connection.
[00:25:04] Cory Goodrich: This isn't very good. I don't think it's an early piece, but that's me and my dad.
[00:25:07] Martin McCormack: I don't think, you cannot say that's not very good. Now this is, uh, is this done in oil? Wow. Uh, so what we have is, uh, it's, uh, looks like it was done from a photo. Yep.
[00:25:20] Cory Goodrich: That's the photo I found which actually gave me the clue that, um, things were not as they appeared.
[00:25:26] I found that picture and said, who is this guy?
[00:25:28] Martin McCormack: So this is Don.
[00:25:28] Cory Goodrich: Yeah. And
[00:25:30] Martin McCormack: this is Don. So he had a chance to meet, you know.
[00:25:32] Cory Goodrich: He did. Yep.
[00:25:33] Martin McCormack: Meet you and, and that's kind of cool, you know. But, um, uh, From an artistic standpoint, this is a very poignant and, uh, whatever you do, don't go to art school. You're going to ruin it.
[00:25:53] You know how that is. I think when I see people like this, that, uh, just can, can make this happen. Um, I, I think, Oh yeah, don't, you know, you know what I mean? Pick up here and there, whatever you want, but, uh, you really have a gift. Um, and, uh, it's such a happy picture in some ways, you know,
[00:26:13] Cory Goodrich: it's heartbreaking.
[00:26:14] And when I met one of my, uh, one of my, uh, Um, new to me brothers, he, we were looking at the photo and trying to figure out when that happened. He said, actually, I think this was right before his family moved to New York. So that could have been the last time I ever saw him.
[00:26:30] Martin McCormack: Yeah. Yeah. I'm
[00:26:31] Cory Goodrich: not sure, but.
[00:26:32] Martin McCormack: Yeah.
[00:26:33] And they, they, it's, it's, you know, you can see that you're showing him something or you're sharing like a dandelion, I'm guessing, or some sort of, but there is that, there's a, uh, kind of a wistful kind of thing here. Uh, in his face that I'm reading into it, but, um, that's really well done. That's beautiful.
[00:26:54] So, um, we're going to take just a little break here, give you, uh, folks a pause, and then we're going to finish up here in, uh, uh, Cory's studio. So we're talking about the philosophy art, uh, Strung Out.
[00:27:08] Cory Goodrich: Do you want to see anything in the hall?
[00:27:12] Martin McCormack: Yeah, let's uh, let's move on.
[00:27:15] Anncr: Hello, Polly Chase here, reminding you about the 20 percent discount you get from your first order at martinmccormick.
[00:27:23] com. Choose from fine art prints or merchandise like tote bags, t shirts, and more. Pillowcases and much more. You're sure to find something you love, but don't take my word for it. Let's hear from Jan in Australia about her new Marty merchandise. I am so happy with my first purchase from Marty's collection of merchandise.
[00:27:52] I chose a mug, this one, which features. It's beautiful. And I've just finished drinking a cappuccino from it. It was easy to order and it took a couple of weeks to arrive in Australia. Beautifully packaged. So now I'm considering what to buy next.
[00:28:27] Martin McCormack: Okay. And it's awesome. You've got your art hanging all over the place. I think that's fantastic. And this is. It's a series of three, uh, is
[00:28:37] Cory Goodrich: there more that follows this?
[00:28:40] Martin McCormack: Oh, yeah. So we're, we're talking, wow, these, these are quite good size canvases. So this takes you a long time to do.
[00:28:48] Cory Goodrich: Well, this, this whole series actually happened, uh, out of the pandemic because I had so much angst about things and, um, I'm usually pretty fast and pretty, uh, you know, I'm not, I'm representational, but I had so much time and so much energy that I could take the time to do all the little tiny dots.
[00:29:06] So each of one of these is about like the pieces becoming a whole. Um, this one is called, uh, He loves me. He loves me not. Oh, no, no. This is called turn around. That was the original title, which for this one, you know, she's looking, she's doing, he loves me. He loves me not. Right. But if she would just turn around, she would see all the beautiful flowers, you know, behind her.
[00:29:28] Martin McCormack: He has a tear in her eye and one eye closed.
[00:29:30] Cory Goodrich: Yeah, but it's so floral and, you know, yeah. And then this one was called, this is more than my body. So this is about femininity and we're judged on our physical appearance, but actually it's all the things that surround us that, you know, that make this beautiful, this beautiful thing.
[00:29:46] Thank you. And then this is based on Janis Joplin during the pandemic. I couldn't perform, you know, because there was this, The stages were all closed. So this was me wanting to perform again to these, you know, here's the empty seats and the magic of the spotlight and, and, um, and this is what performing makes me feel just beautiful is the abundance of color and, you know,
[00:30:08] Martin McCormack: About, um, I always hate that question when somebody says, how long did it take you?
[00:30:12] Were you keeping mark of the time when you were doing that? Do you just kind of,
[00:30:16] Cory Goodrich: yeah, I just, cause I, cause I will stop and do something else and then come back to it. And I work pretty fast in general.
[00:30:21] Martin McCormack: Yeah. How do you feel when you know it's finished?
[00:30:27] Cory Goodrich: When I seal it so that I can't do anything more to it.
[00:30:30] Martin McCormack: These are all oils, right?
[00:30:31] Cory Goodrich: Well, these are actually acrylic. Because a lot of these were with the markers, like the little tiny dots here. Oh, okay, cool. I mean, the
[00:30:37] Martin McCormack: detail is amazing. Thank you. Stunning.
[00:30:39] Cory Goodrich: Thanks. Which I can't do as well with a brush, you know, to get the little tiny, so. Right, well, you know,
[00:30:44] Martin McCormack: there's nothing, you gotta use the tools you got, you know, that you have.
[00:30:49] And that dictates what your art's going to look like too. I mean, there's, this is a really quite a bit of detail. It's amazing. So, um, and, uh, before we finish this podcast, where can people view your art?
[00:31:05] Cory Goodrich: If you go to my website, CoreyGoodrich. com, C O R Y Goodrich, like the Tigers, um, When I get around to it, most of my stuff is up there and you can, the book is up there on the CD and you know,
[00:31:17] Martin McCormack: well, I want to thank you for letting me into your home and, uh, and showing us just a little bit of your art.
[00:31:24] Uh, there's a lot of art here and, uh, while you're looking at her art, make sure you buy some of her art. That's the best way of, of, uh, paying it forward by saying I appreciate who you are and what you're doing.
[00:31:38] Cory Goodrich: Because clearly I have no more wall space.
[00:31:41] Martin McCormack: Help this lady free up some space for God's sakes.
[00:31:44] And uh, kudos to your husband because uh, you know, behind every successful artist there is that partner that's Believes, uh, in, in the artist, um, first and foremost. So, um, that's, uh, another thing you aspiring artists just remember when you have a partner, you know, just, uh, make sure they believe in who you are, but also, uh, What you are doing to express yourself.
[00:32:11] So, and that's it folks, uh, we'll, we'll, we'll circle back around and interview Corey sometime in the future, but for now, thanks for tuning in and we'll talk to you soon. Bye bye.
[00:32:26] Anncr: Thank you for listening. For more information about this show or a transcript, visit martinmccormack. com. While there, sign up for our newsletter.
[00:32:36] See you next time on Strung Out.
[00:32:43] Martin McCormack: It's oh so wrong, this pain we feel makes no sense at all. A swan song wasn't part of the deal, was no good
[00:32:52] at all.
