Home Bargins in Bangor shows up on bank statements spelt like this.
In stitching pieces of fabric together – a hole is made. Is a hole a necessary sacrifice for the greater cause of good? The peaches I bought are slowly rotting on the sideboard – a grey fluff blankets them like a LOL furry surprise pet doll. There is a slippage of meaning. Tight like socks in sliders – the feeling of over winter wearing fluffy bed socks in the studio with sliders. I’m slipping into the role nicely. Like a slim lady’s finger, a hand sliding into a tight leather glove. New kid.
Motherhood – as we exist under capitalism where our values are constructed around money. The unwaged work of a mother is not regarded as a ‘work’ as it has no value. When things are left undone – left unsaid. The language of my mother’s unfinished work – I’m completing the labour. Works should be vulnerable – see the skin underneath – the molecular cells that we’re comprised of, the galaxy that we’re situated in – the role of uncertainty – domestic is the vessel that holds everything.
Clocking on and clocking off – the labour of marks on cloth – marks signifying daily tasks – brushing my children’s hair – brushing their teeth – time passing. The weights are sewn into the skirts and dresses of royalty so that their garments do not blow up unexpectedly on airport runways or coastal towns. The public must not be exposed to the forbidden fruit flesh of royalty. Who operate above through a chance of birth.
The use of material such as fabric, paint, mod-roc and video enable a moulding of materiality – a messy, sticky, visceral pleasure of form. Blot on eyelashes, blot of mascara of right 3rd eyelash, cameo dropping like rain thunders. Luxury fringing. Eat the rich. The blurring of DNA strips, satin lilac fabric – pink dashes, marks of the brush.
(b.Scotland, lives and works on Anglesey, North Wales) Gould works primarily in installation, ranging from assemblage, video and textiles, dealing with concepts of labour, capital and daily rituals. The sense of history of the object, by uprooting it from the proper place in time, removes it from its origins; history evaporates and condenses into another – modifying the value of the object by a ritualistic methodology of time, place and memory.
Gould studied BA Fine Art, University of Wales, Cardiff and MA Fine Art, Central Saint Martins, London. Gould participates in numerous group and solo exhibitions in public institutions and artist-run spaces across the UK, such as Turf Projects, London; Ty Pawb, Wrexham and g39, Cardiff. Gould was nominated for The Paul Hamlyn Award for Visual Artists in 2017. She has been given funding from The Arts Council of Wales, Wales Arts International, Esmée Fairbairn Foundation and The Eaton Fund. Gould was awarded The Freelands Foundation Award last year in conjunction with g39, supporting a two-year development programme.
Some selected projects include: SPRUNG SPRING, g39, Cardiff (2019); ONANIA d r e a m s, cur. Lauren de Sa Naylor, Todmorden (2019); Nightswimming, Lle Gallery, Mission Gallery, Swansea (2018); Things We Said, Studio Cybi, Anglesey (2018); WAGSTAFF’S, MOSTYN, Llandudno (2017)
She is one half of STUDIO CYBI, with Iwan Lewis, a collective that puts on occasional exhibitions and events. Working out of Wales it was set up in 2016 to present shows and curated projects founded on the principle that provincial does not equal compromise. Through SC we create a more sustainable art world; one where no-one is excluded, and living in the provinces does not hinder opportunities. We challenge the idea of the museum and the gallery as the gatekeepers of careers. We aim to create a truly democratic structure.
Email rebecca (at) rebeccagould.co.uk
Full CV available on request