Lowbrow 2025

The Shape of Rest - Mailbox Art Space, Bec Gynes

"From what I know of Goodridge’s work, she usually does far larger, more interactive pieces, which are bright and colourful and loud. But these scaled back versions of her hand-knit textiles feel more thoughtful and personal, a pivot from what I’ve seen from her previously. These textile works are intimate and intricate, and are perfectly suited for the cozy mailboxes. Each mailbox holds a knitted piece around the size of a test swatch, which are often created to ensure the fit of a knit garment. The pieces are haphazardly adorned with kitschy, bright, plastic trinkets, which add to the whimsical joy these works bring. ."

Southbank News 2023

A powerful debut by Rhonda Dredge

Wrestling Before the Gateway is a bold and beautiful show of abstract paintings in the manner of Hilma af Klint whose spiritual approach to work was kept under wraps for 70 years.

The myths of the art world inspire young artists as they work up the courage to follow their own ideas.

The exhibition at Assembly Point is a powerful debut into the Southbank Arts Precinct for a young artist.

Painter Holly Goodridge, 24, has done hundreds of small versions of portals, inner imaginative spaces, and has scaled up the best onto canvas.

She likes the freedom of being able to roll the canvas up rather than stretch it, hanging the pieces instead by colour plastic curtain loops, keeping it casual.

Their scale represents a bold statement for an artist, quite a departure from the many close-up analyses of culture that have dominated the vitrines at Guild....

MassMemo Review 2021

Bachelor of Art (Fine Art) (Honours), RMIT By Kevin Morgan Jones

" I’ve always thought of the Kafkaesque as being in black-and-white. After seeing Holly Goodridge’s paintings, I now believe it can exist full colour. This isn’t to say Goodridge’s paintings are joyless. No, no, no. Not at all. For if there was no joy in the Kafkaesque, there would surely be no joy left in our bureaucratised little lives. If I complained earlier about RMIT’s oppressive architecture, then Goodridge’s paintings provide a perfectly camouflaged portal out. She sees the light. The canvases may look like a new RMIT building, but trust me, these canvases usurp all that style with depth. Literally. ....."