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created the artwork as part of her residency at the FWM, and researched patterns found in historical swatch books in noted textile collections, including 1836-1926 printed cottons and silks.

Golden nevertheless mentions Tony Oursler as a possible influence, although she insists on working mainly from her own imagination and memories, uninterested in quoting other artists in her practice, in an almost amnesiac way that seems as honest as it is nonchalant.

Illusion shades into reality, but Golden also interrogates the supposed guarantee of that reality—our ability to rely on perception and the basic connection between body and mind upon which it depends.

By David Carrier Special Report• what if you disagree with what we or another commenter has to say? The artist lives in Los Angeles.

She has a personal history with the material—her father used it to fabricate geodesic domes for a failed emergency-preparedness retail enterprise—and she enjoys its light, pliant qualities.

in the words of Cripta Djan, from an interview with Tiago Gualberto• By David Carrier, Yung-Wen Mag Yao, and Paul Gladston• This Alice-through-the-looking-glass setting was completed, on the other side of the screen, by my own familial and domestic situation.

The home has long been the main stage for the fabrication of American values and identity, where a polished main protagonist, the perfect American family, performs within its starring decor, the living room with its giant TV set.

- please do not make racist, sexist, anti-semitic, homophobic or otherwise offensive comments.

By Ekalan Hou Field Notes• Unlike Malkovich, Golden is a generous host, inviting people into her headspace and allowing them not only to see through her eyes but also to steer the production to their own conclusions.

80' 7" x 17' 6" x 16'.

After graduation, she moved to LA, seeing it as a place where she could make art differently, with more space and, of course, more time.