Through the surrealists, the Golden Shema is a legendary narration – a huge narration
when Shiama Golden She will find herself disappointed as a child, and her parents often respond with “very bad, very sad, and perhaps the next birth.” In calling for reincarnation and alternative life possibilities, this phrase continues to re -invent itself in the practice of Golden.
Next month exhibition on Evening/in the morningand Very bad, very sad, perhaps the next birth It offers a range of lush panels filled with surreal details, ground textures, and frequent blue personality. As with the previous series, the artist invents a broad magic novel that flows through each of the works, this time the performance of four actions.
The legendary story story is revealed with a collection of Diptychs consisting of a wide -ranging scene and a close companion who offers another perspective. This conjugation imagines a kind of alternative past of the artist as it explores an indelible twin for the personal agency and the large forces such as fate and group experiences that make up our identities.
in Very bad, very sad, perhaps the next birthGolden opens with the changing ego with a blue -face Yakas. She wears the character, wearing a suit of fur, on the way, divided her chest open to detect a bright red wound. A bag of oranges is spread nearby.
The counterpart to this honorary work is a subjective image of the barefoot artist, which was put on the side of the rocky road. It stands on top of the cracked sidewalk while the orange leaks red juice on the ground. Introspective with a global summons, the husband realizes the tension between unexpected and death, whether metaphorical or real, and the ability to find flexibility in the face of adversity.
The Golden series continues to collapse as a series of contradictions. It considers fame and erasure, and wherever freedom exists within the two, along with the idea of the only creative geniuses who mistakenly believe that they work outside all. In “Mexican Texas, 1862”, the artist deals with the borders that were arbitrarily drawn, which links us to the states and nations and eventually changes over time.
In addition to her oil paintings for this exhibition, Golden cooperates in a mobile video project with her husband, the director Paul TrilloWho will build an Amnesty International Model Exclusively trained on Golden’s paintings. Looking at the frequency of many artists about the role of artificial intelligence and intellectual property, the husband is interested in facing the issue from the perspective of influence and the only genius legend. Golden writes:
Many artists who are already compensated in a manner they did not invent, but that was part of a movement emerging for their time and location. Amnesty International is very worrying for artists in the West because we romantic the artist as a unique character, which is only affected by one or three artists who are clearly defined, giving them proportions of artistic inheritance and perceived value.
Golden also connects this idea to “the necessary influence to lead our work price”, which is what you suggest is just another narrative device in the process of self -planning.
If you are in London, Very bad, very sad, perhaps the next birth It runs from May 23 to July 1. Find more Golden on Its website on the Internet and Instagram.
