‘Why is there something here when there should be nothing? Why is there nothing here when there should be something?’
(The Weird and the Eerie , Mark Fisher)
Drawing on a broad framework of cinematic references, for this body of work Eva Gold presents an installation comprising several individual sculptures. Situated within a broader exploration of filmic spaces, Gold here extends her analysis of the cinematic landscape as memory site.
Where the work of cinema asks us to first feel, and then think, affect necessarily precedes logic or reason. Referring specifically to the production of filmic spaces, whose sites are re-inhabited through a collective cultural consciousness: the generic and the hyper-specific become entangled, structuring the amorphous and affecting cinematic landscape.
Approaching this intensity of atmosphere, this body of work draws on the heightened sense of style intrinsic to the noir genre. Assembling filmic tropes, which successfully affect moods of anxiety and suspicion through physical means, Gold reinterprets these materially. Latex, soap and popcorn convene,poised to disquiet or disorientate, further substantiating this cinematic affect, albeit in a tightly controlled framework. The situation proposes an indeterminate narrative, as furniture becomes human,morphing into the absent bodies of speculative characters.