This series of ‘Amelia Paintings’ by artist Penny Goring interweave history, myth, rumour, and world news with the experiences of two young girls stuck in a dark dead world. Into the sphere of their regard come severed heads, their own sainted selves, plague flowers, shit-storms, broken horses, curse plants, melting trees, and a set of emergency sticks. What these preposterously beautiful girls know is that violence is commonplace, structural, personal - there is no escape - not even in irony.
Goring began making these works at a period of high anxiety due to structural oppressions in current Conservative legislation. Goring found that accessing memories to create sci fi spaces between autobiography and imagination, unsettling in mood, became a reflection of a contemporary state and not simply a biography. As Goring cannot escape these recurring PTSD “trauma visions”, they flashback at will (particularly with recent situations in the UK), they become transmuted in part into the paintings, turning the artist’s trauma flashbacks into static gilded iconic emblems that repeat and recur in the work.
Goring makes drawings, paintings, sculptures and poems that access recurring personal trauma visions, and by layering these visions with grief, anxiety, imagination and rage, the subsequent invented mythologies become explorations of the contemporary state of emergency – where violence is commonplace, structural, intimate, where loss of freedoms is forgotten or keenly lamented, and there is no rescue or escape. Her prolific output of drawings, image macros, videos and poetry is published online across many platforms 2009-present. Selected gallery exhibitions include Damaged Gods, Arcadia Missa, London, Enter Greek Chorus (Into the Echo Chamber) The David Roberts Art Foundation, London, Virginia Woolf, Tate St.Ives (currently touring the UK), After Curfew, Freedman Fitzpatrick, Los Angeles, US, HERE HERE – DAS ICH UND ALLES ANDERE, Braunsfelder, Cologne, DE, and Not A God Or A Government, LOMEX, New York, US. She has performed her written work at many venues, including ICA, London, The South London Gallery, London, Auto Italia South East, London, and LUX, London. Publications include Hatefuck the Reader, 2016 (published by and free online athttp://5everdankly.florist/publ/h8fk/rd/), DELETIA – self portrait w no self (New Museum, Rhizome, 2015), The Zoom Zoom (Eight Cuts Gallery Press, 2011). She is co-editor of MACRO – an anthology of Image Macros (Boost House, 2016 ) An extensive archive of her work can be found here:http://pgorig.tumblr.com/