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R.O.C.(Rest­ing on Cer­e­mo­ny) is essen­tial­ly a blow-up action shot of Isu­ru­mu­niya
in which you see the sculp­tur­al relief of the tem­ple trans­form itself into actu­al (sport­ing) ele­phants tend­ed by a mahout and/or wit­nessed by an aston­ished crew.

A selec­tion from a larg­er series.
1998, foto-pro­jec­tions, cibachrome, 30”x40”.

Reviews:

ICP pub­li­ca­tion: Ellen Handy, South­east Muse­um of pho­tog­ra­phy Ali­son Nord­strom, Art New Eng­land, Michael Rush, Review – Dominique Nahas, US News and World Report – Jay Tol­son, After­im­age – San­dra Matthews, Robert Mor­gan – NY Arts

For Nan­cy Goldring, too, a high­ly evolved and com­plex tech­nique results in work of dense­ly sat­u­rat­ed and lumi­nous col­or that offers a direc sen­su­al experience..Deeply influ­ence by bud­dhism, Goldring’s work is mature and straight­for­ward; it is fresh in its cer­tain­ty and coher­ence.”
— Ali­son Nord­strom

Goldring’s images attempt to define the lim­its of pure perceep­tion and pure mem­o­ry. In doing so they lead us , as Hen­ry Berg­son points out, in Mat­ter and Mem­o­ry, to hold an inter­me­di­ate posi­tion in our minds between real­ism and ide­al­ism, and between mate­ri­al­ism and spir­i­tu­al­ism.” Dominique Nahas

In Goldring’s imag­in­ings, per­son­al, myth­i­cal, reli­gious, and archi­tec­tur­al motifs are eas­i­ly enmeshed. Echoes of nine­teenth cen­tu­ry-roman­tic paint­ings, impres­sion­ism, and devo­tion­al reli­gious pho­tog­ra­phy con­tribute not to a Babel of con­fllict­ing artis­stic tongues, but to a seam­less medi­ata­tion on the con­tent of mem­o­ry.” Michael Rush

The pieces of Goldring’s images do not pre­cise­ly fit, but ather har­mo­nize and over­lap, bring­ing to mind what is lost and what is gained in cul­tur­al trans­la­tion. “ San­dra Matthews