j. MADISON RINK

From the inception of this unique and relatively original concept, I intended for this art photography to be richly layered. As it turns out, the simple yet most eloquent statement of this work concerns the absolute magic and fluidity of perception. The idea that we can choose to see what we want to see, and differently, at any given moment is not only an exciting and extraordinary gift for a photographer but also for any human being who wishes to see other dimensions and transcend ideas or beliefs that no longer serve them.

My own life long incantation has been to have the ability to see things differently. The recognition of this ability especially now while living in such a rapidly changing world; exploring the seeming limits of human perception might be of great benefit. I have found a magical and often healing synchronicity at work in nature and it continues to inform me. This particular body of work is also a reflection of a silver lining for me after a life-long and arduous journey of healing; perhaps a documentation of a significant and personal inner human journey. Hence, after an existential plea for aid overcoming an artistic angst and to rise above the years of scouring the underbelly of my psyche, I began to see faces in all forms of nature. Next it occurred to me that after years of exposure and interest in the high end, antique tribal and Asian art created by the indigenous peoples from around the world, I would set out on that first day with the intention of using my camera to explore the idea of capturing the essence of this extraordinary antique indigenous work in nature. It was with clear intention that I chose rock|stone as my canvas, considering its rich, cultural and religious history. With a keen interest in archetypal symbolism,I suspected that a geologic canvas might naturally capture a similar symbolism to this indigenous art and serve as a universal language for these photographic works. Decades ago, when I began the hunt for this unique work, there was no other contemporary work of this kind. Many years later, I found that images of “mimetoliths” a term coined by R.V. Dietrich, professor emeritus at Central Michigan University were popular in the late 1800’s. Of course, at that time these mimetoliths were on a grand sized scale of findings, photographed by individuals as happenstance only.

Upon initial gaze many would consider these photographic works as abstract. I feel compelled to emphasize that while I deeply respect the idea that art is meant to be seen and experienced individually by the viewer; as a photographer and in my own minds eye; these images are absolutely clear representations of naturally sculpted portraits. For this reason, I have found it useful, even important to at least initially orient the viewer with my photographic intentions through the use of titles. (see list below) From the beginning of this unique photographic journey I have come to see and experience these naturally sculpted images as a unique culture of embodied spirits, naturally sculpted by many environmental processes made visible as a part of our living earth.

In this context I first speak of the multiple award winning photograph entitled "the shaman" (03) The appearance of a tribal mask emerging on the left side of the photograph; a fanged perhaps victorious tribal warrior. After first finding this masked image, I noticed on a wall of rock perhaps ten feet behind yet another, much softer other earthly face. Climbing to get the appropriate angle I was able to align the eyes of both faces and create an unusual reflection. The result to some, an optical allusion but certainly two distinctly separate faces joined together to become one with their eyes. A representation of the yin/yang; the sacred journey of the shaman creating a bridge that heals, perhaps in this case an understanding that we are all connected as one. The Afro-ethnic image entitled "katrina, astroculturesqueeze,” (09) is a poignant out picturing of my own consciousness after watching the horrific aftermath of a major storm in New Orleans, Louisiana, U.S.A. named Katrina. Television viewers witnessed the squeezing pain and anguish on the faces of an abandoned culture who had experienced tremendous loss, suffering and neglect. On a lighter note, I was stunned to find the 2 x 2 inch magical image on a very large boulder entitled "walk with a geisha.” (08) Or “shanawdithit” (in honor of the last of the Red Indians) (05)

Erotic art has a rich history in both tribal and Asian art hence it is also reflected in these photographic works. One of the first images I found after embarking on this photographic journey is entitled “ana.suromai.b” (black) This title draws on a period of art history when this image was iconic, honored as public art as both an evil-averting and fertility enhancing image - considered sacred before most of its destruction in the 17th century. I was so moved by the finding of this particular image, even healed by its natural and breathtaking circular in nature mirrored beauty that I decided to use the same subject and photograph it in a different light in order to create a multicultural representation so that all women could see themselves reflected in this exquisitely beautiful and natural way. In this photographic portfolio I have included only one of the three multicultural images referenced above.

Outsider Nature Fine Art Photography
Themed collections: "Primitive Nature" |"Erotic Nature"| "Colours of Nature"| "The Road"| "The Unknown Zone"

Education:
Self-taught Art Photographer


Selected Exhibitions USA & Europe

2013
University of New Mexico, HOWL: 2013 Spring theme "Synchronicity"
An exhibition of juried art and literary readings. El Prado, NM

2013 - current
Wilder Nightingale Fine Art Gallery, Taos, NM

2010
Duo Exhibition USA Wilder Nightingale Fine Art Gallery, Taos, NM

2010 Group Exhibition USA.
ATHICA, Athens Institute of Contemporary Art, Athens, GA
The Chaffee Art Center, Rutland, Vermont 05701

2008 Group Exhibition USA,
Spruill Gallery, Atlanta, GA "Hand to Hand" A traveling exhibit.
Carol Henry Gallery, Agoura, CA

2007 Group Exhibition USA & Europe
Ruth Bachofner Fine Art Gallery, Bergamot Station, Santa Monica, CA
Altered Esthetics Gallery, Minneapolis, Minnesota
Kunstfluss Mgmt. "Climate Control" A traveling European exhibit

2006 Solo Exhibition USA
County of Los Angeles Public Library, Agoura Hills, CA
Center for Creative Art & Growth, Thousand Oaks, CA

2006 Group Exhibition USA
Fort Collins Gallery, MOCA Building, CO,
Denver International Airport Gallery, CO
WAV06, 2nd City Gallery, Long Beach, CA

2005 Solo Exhibition USA
Waterlily Gallery, Topanga California


Honors & Awards

2013
Howl: The UNM Voice of Taos: A journal of Culture & Arts
"Elder Rest" & "The Shaman" Jurors: UNM staff of Editors

2011
black & white & color - WIPI 30th Anniversary "Honorable Mention"
"existential sleep" Juror, Stephen Perloff, The Photo Review, Th Photograph Collector

2007
Scientific Aesthetics
"The Shaman" "Elder" "Between Worlds" Katrina "AstroCulture Squeeze" Juror, Jamie Shumacher

2006
"Turning Silver" Women in Photography International - online exhibition and limited edition Kodak Gallery Sponsored book
"Nature's Prayer" Honorable Mention, Jurors: Kim Gougenheim, Catherine Edelman, Joyce Tenneson, Jean Ferro, Rose Shoshana, Andrew Smith, Susanne Konig, Laurie Kratochvil, Scott Mc Kiernam, Stephen Perloff

2006
"On the Edge" The Center for Fine Art Photography
"The Shaman" Honorable Mention, Juror, Stephen Perloff, Founder & Editor of The Photo Review
Denver International Airport (DIA) Invitational
"The Shaman" Juror, Tim Anderson, Camera Arts & Review


Book & Article Publications

Magazine, Howl: The Voice of UNM Taos, Spring 2013 edition "UNM magazine with a focus on culture & creativity" "Elder Rest" and "The Shaman"
Book, 2010 "Geology and Art: an unorthodox perspective" Andrea Baucon
http://www.blurb.com/b/1049152-geology-in-art-hardcover
Book, 2009 UNESCO, educational subsidiary of UNITED NATIONS, Geopark Naturtejo Meseta Meridional, Portugal
Book, 2003 - 2010 "Hand to Hand" Witnessing the Iraq War, "Head Bomb" a traveling exhibit
Article, "Great Stone Faces" About: Guide to Earth Sciences, NY Times Company, A. Alden
http://geology.about.com/od/geologyandculture/a/greatstonefaces.htm
Article, "Optical Illusions" The Acorn, Los Angeles, CA
http://www.theacorn.com/news/2006-11-02/community/042.html
Article, 2010 National Geographic, Four Corners Region
http://www.fourcornersgeotourism.com/cweboices for Bio Diversity
Article, http://www.izilwane.org/outsider-nature-art-photography.html
Article, Mimetoliths, Professor R.V. Dietrich, Michigan University
http://stoneplus.cst.cmich.edu/mimetoliths/


Professional Affiliations

Women in Photography International - WIPI, Charter Member
http://www.womeninphotography.org/wipihome.html
National Geographic, Four Corners Region, Geotourism, juried
http://www.fourcornersgeotourism.com/content/j-madison-rink-art-geology/fca5A39DB30F9F1EBFF0


Collections - Selected list

Elizabeth Lees & Bill Caskey - Caskey-Lees, Fine Art and Antique Shows
Rutger's University, Contemporary Women Artists collection, Mary H. Dana Series
Lee & Vichai Chinalai. Asian and tribal art dealers
Thomas Murray, Tribal art dealer
P. Obrien, Art Collector
Raya Sagi, Director, County of Los Angeles Library, Agoura Hills

UPDATE - AUGUST 2014 - APRIL 2017

Full circle on the "Beginnings of Art"

Recently (2017) and decades after the inception of my own photographic works, I was astonished to stumble upon information that would provide a profound and significant context for my relatively arcane fine art photographic works. The British Museum in London has installed a new exhibit of So. African Art. The curator, when interviewed described So. Africa as having the "earliest artistic thought and practice anywhere in the world." He also reported that the most popular treasure which attracted and out shined all else in this exhibit was a naturally sculpted stone cobble with the impressions of a face on it. It is known as the Makapansgat Jasperite Cobble.

As the earliest object in the exhibit and to many the earliest piece of found art in the world, the 3 million year old piece was originally excavated by Wilfred Eitzman in 1925 from a cave located in the Makapan Valley of So. Africa which also contained the remains of an Australopithecine, (early, now extinct human ancestor). Eitzman was struck by the impression of the face on the stone. Initially it did not get much attention and while featured on two British television programs in 1981 as the "oldest apparent art find" in the world, it was not until decades later in 1997 that it was referred to a highly accomplished Australian "cognitive" archaeologist, Robert G. Bednarik for analysis.

Bednarik who has a long standing interest in questions of art origins and who has written extensively on the topic came to the conclusion that in the final analysis this find represents the earliest cognitive recognition of an aesthetic by the Australopithecus who likely recognized and revered its naturally sculpted face, therefore chose to collect it by taking it back to the cave where it was found again 3 million years later in the So. African archaeological deposit. Bednarik refers to this piece as Paleoart and in his view it would also be the earliest signs of the "Beginnings of Art," as we know it.

One of the many and mysterious ironies about this new development for me is that one of the images in my signature collection, found in the area of Taos, New Mexico, but not included as yet in this archive, is entitled Emerging Taos Gorilla. At the time, I had no knowledge that there was an early human species, the Australopithecus who had found and collected the "Makapansgat Cobble" a stone with a naturally sculpted face. As it turns out, this early human species who walked erect and used their hands also had a gorilla like anatomy.

I invite you to view this Emerging Taos Gorilla, on the link below.

National Geographic, Four Corners
http://www.fourcornersgeotourism.com/content/j-madison-rink-art-geology/fca5A39DB30F9F1EBFF0

"Book & Article Publications

Inclusion in upcoming Book, 2017 "Do You See What I See," by R.V. (Dick) Dietrich


Women In Photography International Charter Member


j. Madison Rink
Taos, New Mexico
WIPI PhotoProfile
mailto:xrink@aol.com
RinkArte www.Rinkarte.com
Blog: Outsider Nature Art Photography - j. Madison Rink
http://outsidernatureartphotography.blogspot.com


©Copyright for all images remains the property of exhibited photographer, and promotional use for Women In Photography International. All inquiries regarding use of and purchasing image use rights must be directed to the photographer.

File GALLERY complete August 30, 2014
j-8/30
UPDATE: 9/29/2015 Gratitude letter,
UPDATE: Photographer response - NEW update - APRIL 2017


UPDATE FINAL: May 2017 website content 1999-2017
womeninphotography.org file transfer to the Beinecke.
All organization files, computer, external hard drive, printed materials, photographs,
DVDs, books, competitions files and onsite installation art work