At once infinite and ephemeral, Golden’s immersive structures have been described as psychological architecture for the way they thoughtfully embed layers of consciousness within socio-economic stratification. Upstairs at Steve’s depicts a complete upending of an outdoor tableau, set in a seaside landscape. The exhibition reveals a mysterious confluence of biography, history, psychology, and nature. Familiar household objects are strewn across the dunes, as if deposited from a natural disaster, with an accompanying soundscape adding another atmospheric layer.
To achieve the dueling sensations of depth and expanse, the artist distorts perspective with strategically placed mirrors, prompting viewers to question what is real and what is illusion. Golden has introduced a new dimension to her signature practice of warping space—notably employed in her installation, The Meat Grinder’s Iron Clothes, at the 2017 Whitney Biennial—as she looks to the outdoors. Building upon the artist’s original soundscape, visitors are invited to submit audio recordings of their immediate surroundings, with the goal of generating a cumulative and collaborative soundscape over the course of the exhibition.
FWM’s Artist-in-Residence program is renowned for pushing artists to experiment with new media and processes, take risks, and ultimately expand their practices as they create new works of art. As part of her residency, Golden researched patterns found in historical swatch books in noted textile collections, including the Philadelphia Museum of Art and Winterthur Museum, Garden & Library. These include 1836-1926 printed cottons and silks from William Simpson’s Washington Print Works and its successor Joseph Bancroft and Sons. For the installation, she chose to juxtapose these with the more recognizable designs from specific parts of her life spanning childhood to the present, collapsing time, history, and memory.