The peaches I bought are slowly rotting on the sideboard – a grey fluff blankets them like a LOL furry pet doll. I’m slipping into the role nicely. Like a slim lady’s finger, a hand sliding into a tight leather glove. New kid.
Let sincerity spill out over the edges. The everyday activities that can be transported / weighted into time laden – anonymous lives. Made from discards – repurposed to objects I want. I’m looking out the window – I can’t see you but maybe you’re living your best life. Unfolding in the space.
Nothing handier than a pair of curtains, cut velvet kid gloves – the shape of things to come. Ruptured from the body – you’ve reduced me to pieces. We are using this realm to usurp the sanity of feelings and the scarcity of private space. Letting you in: we have a shortage, we are in short supply. There is a limited availability of our commerce. Like a dinner party that never happens because the guests don’t turn up, we set the table but no one arrived. You’ve reduced me to pieces. Like a closed locket worn around my neck. Tight like Socks in sliders.
She has an oversized transparent plastic cover over the Gucci shopping bag to keep the rain from it. Motherhood – where the world loses its bearings, all boundaries dissolve and the earth cracks and fissures. Loosen your tongue, dissolve the boundaries, unclench your jaw. A messy, sticky, visceral pleasure of form. Rest as revolution. Care for each other.
rebecca (at) rebeccagould.co.uk
I received my MA in Fine Art from Central Saint Martins College, London and my BA (First) Fine Art, Sculpture, from UWIC, Cardiff. I was awarded small Cultural Recovery Grants from the Arts Council in 2020 and 2021. I am one of the recipients of the Freelands Foundation Fellowship Award 2019-2022 in association with g39, Cardiff. I was nominated for The Paul Hamlyn Award for Visual Artists 2017. Recent projects include: Your Foot in My Face, Kingsgate Project Space, London (2021); Tonnau O Gariad (duo with Iwan Lewis), BayArt, Cardiff (2021); Picture Palace, Transition Gallery, London (2020); SPRUNG SPRING, g39, Cardiff, UK (2019); ONANIA d r e a m s, Todmorden (2019); Nightswimming, Lle Gallery, Mission Gallery, Swansea (2018); WAGSTAFF’S, MOSTYN, Llandudno, UK (2017); Girls (Duo with Lindsey Mendick) Periclo, Oriel Wrexham, Wales (2015); A Bestiary, TURF PROJECTS, London, UK (2015); Neru Phuyt Issue II, K.C. Continental Stores, London, UK (2015) and a review published in MOUSSE Magazine (2017). I have also previously had commissions that included a travel award from Wales Arts International; and working with Llawn; Conwy Council; Grange Gardens Sculpture Prize and also for LOCWS International 3. I was given a solo show, Claire Danes, as part of MOSTYN Gallery 6, Uprising, funded by Esmée Fairbairn Foundation, bringing to the MOSTYN a diverse range of artists at the very forefront of contemporary art practice. I am 1/2 of STUDIO CYBI, with Iwan Lewis, a collective that puts on occasional exhibitions and events. We work out of Wales to present shows and curated projects founded on the principle that provincial does not equal compromise, it was set up in 2016.
Adam Carr, Curator at MOSTYN, text written for ‘Dual-Core’ shown in ‘WAGSTAFF’S’ exhibition in MOSTYN, 2017 “Moving between painting, sculpture, video and installation, Rebecca Gould’s practice encompasses autobiographical details with references from contemporary popular culture. The process of the work’s making, including the meaning and associations embedded within materials, is emphasised in her work as much as how the elements ‘perform’ together when presented. The piece shown here is made from old table linen from a convent school her mother attended, which Gould has painted with fabric paints. The other component of the work contains weaving, also by her mother. Both the fabric and weaving are traces left by her mother and when combined with her own intentions a secondary layer is bought to the piece, creating a discourse on motherhood. It reflects the domestic acts of repetitive caring, the value transmitted through the gesture of the human touch, and in the context of this exhibition represents the movement of history, as well as latent meaning unearthed in new composition, as an original score.”