Jerry Saltz at Vulture:
Abigail Goldman’s micro-renderings of scenes of carnage, created at 1:87 scale, are a testament to the pull of the small, especially at a time when art is getting bigger and more elaborately produced. In one tableau that could have come out of Breaking Bad, a shipping storage container in a gravel field contains a bloody corpse and a woman with her hands up as two gunmen nearby take aim. Another features a powder-blue van in a desert and two men warming their hands over an oil-drum fire, a mutilated corpse splayed between them. A third features a machine-gun-toting Queen Elizabeth and her two corgis standing over a dead man. Behind her, the paintings, the china in the cabinet, the upholstered chairs, the patterned wallpaper — all are perfect.
Goldman calls her works “Die-o-ramas.” I call them a cross between nightmares, documentary, and horror. In her day job, she is an investigator for a public defender outside Seattle, researching horrendous incidents of death, murder, and suicide.
more here.
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In the 
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