Stepping into one of Golden’s installations is like falling down the rabbit hole: uncanny, familiar, and physically disorienting. Her show at New York’s CANADA this past September, “A Fall of Corners,” was a large room comprised of four separate, sideways vignettes (chairs and tables, a salad bar, an exercise bike, stained glass windows), each adhered to a different wall. Upon entering, the viewer stood on a raised walkway above a floor of mirrors. Seen from this point of view, each wall became an aerial view of a room, a perspective Golden describes as “suspended [and] omniscient.” At ALAC she’ll be showing what she calls “missing pieces,” objects which hint at the experience of the installation without endeavoring to recreate it. Several of these additions have a distinctly culinary bent: “For the last couple months I’ve been adding things to the tables: melted foam pork chops, cake with caulk frosting, broiled fish made from a pool noodle with gorilla glue for sauce,” she explains.
An L.A. resident since 2009, Golden is grateful for the city’s tight-knit and supportive art scene. “One thing I appreciate is that often more well-established artists put energy back into the community. They participate in weird one-off group shows, buy artwork at unestablished galleries, and seem to just generally re-invest. Like Laura Owens opening 356 Mission with Wendy Yao, and Gavin Brown, and Mara McCarthy opening The Box.” Although costs are still lower than New York, Golden has noticed the rents for industrial spaces have increased significantly in the past six years, a change that has her musing about feasible alternatives (out in the desert? Detroit? New Orleans?), though she would miss the strong community that L.A. offers.