Nancy Goldring’s colorful foto-projections
Nancy Goldring’s fascination with location and memory culminates in a process she calls “foto-projections”. Scenes captured from her travels serve as reference for graphite drawings and mylar models that are later tacked upright in her studio and projected with multiple layers of slides from the front and back. Each layer, projecting varying details of the same scene, ultimately captures the essence of the location when pieced together and digitally printed on archival Hahnemuhle paper. “My ‘foto-projections’ suggest the intricate nature of human perception by reordering visual information to propose irreconciable time frames, shifting vantage points, changing moods, and memory traces,” she says. “Each image represents one of the many possible ways of evoking a place or moment; and the series altogether suggests the complex way we experience the world.”
For 35 years, Nancy Goldring has been developing a personal way of making art, combining graphic, photographic, and projected material in work that appears as non-narrative series of images. In a recent article in the magazine Artforum, Nancy Goldring explained in detail the process of her captivating tableaux, currently on view at Carrie Haddad Gallery in Hudson, NY.
“One of the main lines of inquiry that has driven my work for so many years concerns how to conjure place—whether a dreamscape, a town or country, somewhere you have never been, or the studio in which you spend your days,” she wrote. “The challenge is to find a way to include how you anticipate it, how you encounter it, how you remember it and store it away, and what it reminds you of. In that respect, the notion of place is open-ended, and my work is not so much about picturing a place as about finding a way to represent our experience of it in the fullest sense. Some places I’ve gotten to know over long periods of time, like Italy, but I have spent many years traveling around the world—from Indonesia to China to Syria to Sri Lanka to Cuba—mostly through grants, trying to understand where I was by making extensive drawings and taking photographs. These document the place and, at the same time, reveal the notion that we can never fully grasp what we see. The process then becomes an intense struggle to fathom what is unknown and unknowable. It sets in high relief that you can never fully understand a place, while underscoring the importance of trying.”