“Golding makes explicit the image's inner workings. An image is shaped and defined by the technologies and locations used to create it... The relationship between sound and light are core in Golding's live presentations. The image plays an elusive trace, fashioned by rubrics imposed by idiosyncratic sonic machines. Story arrives directly to the senses, tempered by the unpredictability of analogue instrumentation and live performance.”
– Dirk De Bruyn (Experimental and Expanded Animation, Palgrave Macmillan, 2018)
“The British born, London based Australian artist has created dozens of installations and performances in recent years, straddling lines between expanded cinema and sound art. She ceremonially piles dizzying sensations onto audiences, from the trembling light of multiple projectors to the serrated noise pulsations of the scores”.
– Tristan Bath (The Wire, 2016)
“Sally Golding deftly exploits precisely that flapping and buzzing embedded in the media that mutates, as it transmits from format to format, into recognisable sounds such at the swelling of a thunderstorm, layering in an impasto of noise.”
– Stuart Heaney (Psyche Tropes, 2014)
“The senses that Golding’s work evokes and stimulates are connected to the processes of dissolution or a deterittorialisation of the self, a becoming animal, to draw on Gilles Deleuze. I feel myself vanishing, being emptied, being poured out, being remade into something else as I feel my way through Breaching Transmissions. This is a something more wild, a something else freer. This is what great visual art does – it sensationalises our carnal beings – it takes us home. It screws us up. It sets us free.”
– Sean Redmond (The Conversation, 2015)
“Golding exemplifies that underground field of expanded cinema artists who colonise the sanctified zone between screen and spectator’s eye, to smash the proscenium and challenge accepted, mechanised illusion. …prismatic distortions and a piercing strobe are utilised in the artist’s immersive, free-improv tactics."
– Dave Griffiths (Abandon Normal Devices/Cornerhouse, 2010)
“…[Golding’s] performances resemble a nineteenth century séance, careering between elegance and precarious awkwardness as noisy awe-inspiring spectacle.”
– Steven Ball (Senses of Cinema, 2016)
“In the inky surrounds of a completely black theatre, audience eyes are struggling. All they can hear is their own breathing and the air is thick with anticipation. Suddenly a loud noise – the fizzing pop of a strobe, and the room is strafed with light. The strobe sets up a slow but coruscating beat, periodically revealing the empty stage floor and softly shirring black curtain behind. Audience eyes strain as the entire space shudders, flooded in sudden illumination, then darkness, then light again. The pulsing beat of the strobe explosions develops into more sophisticated sonic textures: cracking, bubbling metallic noises whizzing through the venue and across the empty plain of the stage.”
– Danni Zuvela (Eyeline, 2009)
“A pulsing, banging statement of audio-visual intent."
– Harriet Warman, (BFI Sight & Sound, 2014)
Breaching Transmissions with Sally Golding and Spatial, Spook Magazine, Garry Westmore, August 2015