Aimee Goguen (b. Los Angeles, California) lives and works remotely. Goguen examines degradation, voyeurism, vulnerability, and power in relation to human behavior. She reclaims the grotesque and the process of 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. Through writing, drawing, sculpture, video-and-animation, Goguen emphasizes deterioration and decomposition. Practical effects and violent time-based manipulations, such as dissociation and rapid combustion or detonation also inform Goguen’s practice. Goguen's sculpture, drawing, and video work has been exhibited at venues including solo shows: dark dark room, ACP, LA (2024); Mountain of the Collapse, JOAN, LA (2022); Accidentally on Purpose, Panel, LA (2017). Group shows include Ridykeulous, Nottingham Contemporary, UK (2024); Protuberances at LAXART, LA (2016); THINGS: a queer legacy of graphic art and play at Participant Inc, NY (2016). Screening at venues including 2220 Arts+Archives, LA (2025); REDCAT, LA (2020); White Columns, NY (2014); Vox Populi, PA (2013); 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. She is currently the Archivist for Michael Taussig.