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”.


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