The image of floating mountains first emerged in Goldman's paintings as a primordial landscape, both imaginary and real, in 2013. In one of these, the image of a mountain is outlined in green and turquoise hues against a white background, whereas in another—the mountain is the bare wooden surface itself, surrounded by ocean-blue or white colors. This reversal between image and background enables the viewer to observe the mountain as if it were either present or absent, and in so doing explore his changing mode of observation