Australian-British artist Sally Golding presents two new audiovisual installations which conclude her year-long Embedded residency, delivered in partnership with Sound and Music and the South London Gallery (SLG).

The installations explore Golding’s interest in perception and phenomenology, and consider audiovisual art as a participatory experience. Golding’s work questions states of reality, challenging notions of narrative and the act of perceiving through the deployment of sonic and visual fragments, and the reworking of the bare components of audiovisual media such as light, substrate, and amplification.

The new works involving multi-sensory projection, optical sheeting, reflection, lighting, and sonic composition extend upon her repertoire of live expanded cinema performances, multimedia installations and sound recordings. During her residency, Golding accessed the Grade II listed former Peckham Road Fire Station, recently gifted to the SLG, as means of exploring geo-dislocation, representation and the double. 

‘Embedded’ is a Sound and Music composer and creative artist development programme funded by the Esmée Fairbairn Foundation. 

Opening Reception Wednesday 25 May, 6PM – 9PM

About Sally GoldingKnown internationally for her expanded cinema performances, Sally Golding's live sets are edgy and intense, driven by a minimalist approach to horror aesthetics leading her to explore science and superstition, philosophy and pulp. Golding’s audiovisual performance work focuses on the experience of the audience, pushing the boundaries of visual and auditory perception through the breakdown of the cinematic system into flicker, waveforms and colour fields; while her installations have harnessed the presence of the audience themselves by incorporating their reflected image into projections within immersive spaces.

Look out for interviews with Golding as featured in print in the current June 2016 issue of The Wire magazine, and online in Sound and Music's The Sampler, mid-May.

“The senses that Golding’s work evokes and stimulates are connected to the processes of dissolution or a deterritorialization of the self, a becoming animal, to draw on Gilles Deleuze. I feel myself vanishing, being emptied, being poured out, being remade into something else as I feel my way through 'Breaching Transmissions'. This is a something more wild, a something else freer. This is what great visual art does – it sensationalises our carnal beings – it takes us home. It screws us up. It sets us free.” – Sean Redmond (The Conversation, Melbourne International Film Festival, August 2015)