Aimee Goguen is a visual artist primary working in moving-image. Goguen’s video work examines degradation, voyeurism, vulnerability, and power in relation to human behavior. To clarify: The term degradation is used here to signify a ‘degraded’ image from the French degradé (low-fi camera use) as well as the politics of shameful behaviour. Goguen’s videos reclaim the grotesque and process trauma by crafting scenarios that re-imagine societal and inter-subjective dynamics as staged, repetitive actions, where accustomed exploitation is heightened and thereby critiqued. Goguen’s format is both analog-and-digital, prioritizing hand-made processes. Goguen likes to shoot at night with a hi-8 camera and a single-bulb-clamp-light. Goguen purposefully creates print-through or camera noise for noticeable decline in the visual components of an already lo-fi form. Goguen incorporate these recycled tapes in production, for effect.
Throughout Aimee Goguen’s art practice, she emphasizes deterioration and decomposition. Goguen is inspired by before-and-after photography, falsification of memory, material failures, irreversible plastic deformation, putrefaction, damaged and destroyed debris. Practical effects and violent time-based manipulations, such as dissociation and rapid combustion or detonation also inform my practice. Goguen’s sculptural work involves a process of collecting scattered pieces of waste and remains of demolished structures, colorful toys and plastics, and other miscellaneous discarded and recycled materials. Goguen’s animation work uses specific techniques in 2-D and 3-D media, such as: straight-ahead, hand-drawn, hand-painted, rotoscoping, and time-lapse photography.
Goguen has screened at numerous venues including Ahmanson Theater MOCA, LA (2026), 2220 Arts+Archives, LA (2025); Nottingham Contemporary, UK as part of the Ridykeulous group exhibition (2024); Black Diamond Hotel, Canada (2022); REDCAT, LA (2020); The Cock, NY (2018); Altes Finanzamt, Germany (2018); CASSTL, Belgium (2017); White Columns, NY (2014); Vox Populi, PA (2013); and Curtat Tunnel, Switzerland (2011). Goguen’s video work has been included in such anthologies as Bee Reaved (2021) by Dodie Bellamy and The Oxford Companion to Queer Cinema (2021) reviewed by William J. Simmons. Goguen co-curated Lick, Stick, Leak with Suzy Halajian at 2220 Arts+Archives, LA (2022); All the Reasons with Mariah Garnett at REDCAT, LA (2020); and Afterglow: Summer Video Series with Harry Dodge, LA/NY (2014-16). Goguen has participated in solo and group shows including dark dark room, ACP, LA (2024); Mountain of the Collapse, JOAN, LA (2022); Accidentally on Purpose, Panel, LA (2017); Six (Linear) Feet at ONE Archives, LA (2021); Protuberances at LAXART, LA (2016); THINGS: a queer legacy of graphic art and play at Participant Inc, NY (2016). Goguen was awarded the Rema Hort Mann Foundation Emerging Artist Grant (2017). Goguen received a COA in Crime Scene Investigation at Rio Hondo College (2026). Goguen obtained an MFA in Art (2016) and BFA in Film/Video (2009) at California Institute of the Arts.