In Domino Foyer, Goss’s harlequin patterned terrain gives an air of grandeur to his deteriorating scene. The obscure angle of its vantage point places the viewer as a vulnerable witness to a carnival-esque wreck that appears to be both growing out of and collapsing into the backdrop. The ‘landscape’, which originated as a photograph of the artist’s kitchen taken with the camera positioned on the floor, becomes a duplicitous setting that confuses interior and exterior space. This idea of inbetween-ness – the intervention of the epic and intimate, psychological and physical, past and future – is echoed in the canvas’s surface through Goss’s painting technique. His planes of dreary colour, erased and eroded, become an unstable ground, where brush strokes defy gravity and float as independent manifestations. Minute details are rendered with crystalline effect, their intensity heighted by a craquelure pixilation that connotes virtual reality.

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