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Claire Danes (2014), Installation shot, Rebecca Gould Claire Danes (2014), Rebecca Gould (installation shot courtesy of the artist)

Rebecca Gould's latest exhibition at Mostyn Gallery in Llandudno fills reviewer James Harper with a sense of anxiety.

The latest instalment of Esgyn/Uprisings, the series of exhibitions dedicated to giving a platform to young and emerging artists, in Mostyn's Gallery 6 presents new work by Holyhead-based Rebecca Gould.

On entering Gallery 6, there is an immediate clash; the cold, harsh light of Mostyn's common areas, enhanced by its hard concrete internal facades, are deleted.

Claire Danes, 2014 - Rebecca Gould (installations shot courtesy of the artist) Claire Danes, 2014 - Rebecca Gould (installations shot courtesy of the artist)

A warm front moves in. There is an initial playful sensation offered up as an hors d'oeuvre. This is a happy room, a feeling perhaps instigated by a charming yellow smiley-faced object wedged between two sheets of plywood. From the list of materials that make up the installation Claire Danes (one of two works named after the actress, arguably most famous for her role in the Baz Lurhmann version of Romeo + Juliet) it is difficult to know if this is a bottle or a toothpaste beaker. Regardless, the happy face soon loses its initial endearing charm.

A quick glance around and a sense of unease and anxiety overtakes. A handbag lurks, semi-concealed by plywood, as if waiting for its owner to return. One television monitor displays a video still (the second 'Claire Danes'), a blonde-haired person stood back to camera. Is she the bag's owner?

Claire Danes, 2014 - Rebecca Gould (Installation shot courtesy of the artist) Claire Danes, 2014 - Rebecca Gould (Installation shot courtesy of the artist)

It could quite easily be the back of Molly Soda's head just before she turns around and blurts out her usual style of post-Internet-age wisdom - or what I would describe as Clarissa Explains It All rebooted. Pleasingly this doesn't happen.

The film still adds to the sense of anxiety and foreboding tranquility.

On another monitor, Claire Danes (definitely her this time) brushes her teeth frantically, looped. Obsession comes into play. Both video pieces are silent.

The sounds of my movements within the space are deadened by carpet underlay under foot. The only noise within the space is that of an intermittently bleeping baby monitor. In his interview with Gould to accompany the exhibition, Alfredo Cramerotti, Mostyn Director, refers to the baby monitor as offering 'a sense of time'. Actually, while I agree that it highlights linear time, I feel it distorts our perception of duration. To me the baby monitor is the fulcrum of the exhibition. It provides the sense of anxiety and builds tension.

Claire Danes (2014), Rebecca Gould Installation shot Claire Danes (2014), Rebecca Gould Installation shot

This is Ryan Trecartin's work if he were a single mum. Delightfully disturbing in its absence of any tangible chaos. Extremely coherent and considered, but at the same time very expectant of chaos. Imagine watching Newsround knowing that Dave Benson Phillips is coming next.

I want to stay here forever and I want to leave immediately.

Much like Claire Danes, this exhibition has its feet firmly in 2014 but, as with everybody of a certain generation, will always have a little piece of them stuck in the 90s.

Claire Danes by Rebecca Gould will be at Mostyn, 12 Vaughn St, Llandudno LL30 1AB until 09.11.2014 www.mostyn.org

James Harper is a Liverpool-based artist and curator. He is currently a Director at The Royal Standard where he also has his studio. Originally from North Wales, James is a coordinator of PRAW(N) - the Programme of Resources for Artists in Wales (North). james-harper.com