The Ocu­lar Proof cor­re­sponds to images tak­en from a dream.  The title comes from Shakespeare’s Oth­el­lo:  When Iago reveals the hand­ker­chief which he had care­ful­ly plant­ed, hold­ing it up, he says: “The Ocu­lar Proof.”  In this piece the cen­tral form recre­ates a fleet­ing image that appeared as a dream dis­solv­ing in the ear­ly morn­ing: a white satin cloth slips from a pol­ished wood­en table.  The slide infor­ma­tion super­im­posed derives from frag­ments of works of art such as a draw­ing by Man­teg­na, a sculp­ture of Leda and the Swam.  The land­scape or place of the image is Utah where I had recent­ly photographed.



Cor­riere del­la Sera, La Repub­bli­ca, Rome
Indi­an Express, Nya­tee, Bombay

Her tech­nique com­bines draw­ing and pho­to­graph­ic imagery in a lam­bent blaze of col­or, and looks as though it could have been exe­cut­ed by means of com­put­er imag­ing but was not…Goldring’s work is lit­er­al­ly a con­struc­tion of real­i­ty, per­cep­tion, and imag­i­na­tion. Its pow­er lies in its easy per­sua­sion of the view­er to enter into the world cre­at­ed in the pic­tures, or to imag­ine that world as over­lap­ping with the quo­tid­i­an one of actu­al expe­ri­ence.” — Ellen Handy