Feeling shipwrecked on a continental island, Night Gallery fakes her own death to escape into Samara Golden's infinite horizon.
In her upcoming solo exhibition “Rape of The Mirror,” Golden is the storm maker. Her hypothetical cyclone suspends in rotation the rooms of a demolished fantasy; reflecting back hurled pieces of styrofoam that once were the bricks of a dream home. As with Golden's previous work, “Rape of The Mirror” is an active vortex to an emotionally complex multiverse. She is the eye of the tornado.
Inspired by movies such as The Long Goodbye and American Gigolo, Golden constructs an architecture of luxury made entirely of silver insulation material known as Thermax. Reflective furniture, a jacuzzi and a queen-sized bed fitted with light blue sheets occupy the gallery space. A video of breaking waves crashes over the installation, illuminating the darkness while stretching the space to the other side of the earth. The gathering gloom watch as lights fade from every room with Golden's perpetual state of sunset plaguing the scene with a foreboding red hue. Night Gallery is reborn as an ocean side villa dangling off a cliff in the sixth dimension.
"Rape of The Mirror" is a continuation of Golden's investigation of cyclical video-voyeurism as she presents the viewer with multiple perspectives using three cameras and two projectors. These technical mediations, combined with her homespun sculptures-of-deceit, create the Mirage of love. Blue is red and yellow is clear. Adhered to the gallery's back wall, atop a lattice of shelves, is a crying eye that looks upon this domestic setting and sees a house of broken glass.
Night Gallery anticipates her rebirth as a Thermax poem spanning different media and time sculpted by our mother thunderstorm Samara Golden.