I'm a graduate of Rhode Island School of Design, with an MFA from Maine College of Art. In addition to my sculptural projects I also run a design business featuring limited edition hand silk-screened prints that can be found at www.alishagould.etsy.com.
My sculptural works, installations, drawings and photo-based projects question the polarities that prevail in the perception of spatial relationships, and investigate the dynamic threshold between binary oppositions. Using diverse methods and a minimal aesthetic, my work blurs boundaries between interior and exterior, displaces architectural elements, creates scalar shifts, and proposes perceptual illusions in order to investigate the complex and illusive nature of space itself. I often use simple, everyday materials, handmade methods and repetitious processes to create unexpected transformations that explore the interplay between body, object, and site, and the poetic potential of liminal space - a threshold that is variously a boundary with a dynamic dimension of its own, or a lacuna with an insurmountable gulf; a both/and or a niether/nor.
Despite the recent spatial turn in critical theory, the perception of space continues to be governed by fixed and false dichotomies such as spatial/durational, interior/exterior, nature/culture, local/global, and material/metaphorical. In my practice I am interested in the liminal space between these oppositional designations, a physical space that is complexly intertwined with the theoretical space attended to in many twentieth-century texts on the topic. My own difficulty in defining what I mean by the term space in my art practice has instigated the general query of What is between things? What exists I ask - not only between perceived dichotomies, but also between the smallest particles of matter or the largest filaments of the universe? How do the mechanics of perception and the boundaries of the empirical world augment or limit the ability to imagine the vastness of empty space or the boundlessness of infinite space?
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