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Goldchain used her girth as a sym-
bol of the wealth of the army as
compared to the extreme poverty of
everybody else.
"I wanted the pictures to show
the kinds of grotesque corruption
and distortion of society that was
caused by a toxic mixture of influ-
ences:' says Goldchain, who uses a
variety of equipment from traditional
Hasselblad cameras to digital gear.
"The camera can make people look
more grotesque than they might be."
Goldchain's interest in Latin
America relates to his early years
and the places where his ancestors
had settled. Born in Chile, he moved
to Israel after graduating from high
school.
Although Goldchain had majored
in physics and math at the Hebrew
University in Jerusalem, he decided
that he did not want to spend his life
in research labs.
"I became a photographer gradual-
ly, after becoming interested in cam-
eras during my adolescence he says.
"I wanted to experience the world
and tell about it. I moved to Canada
in the 1970s and studied photogra-
phy at Ryerson University"
Goldchain, who worked as a medi-
cal photographer in a teaching hospi-
tal for nine years, started assembling
the Windsor Gallery images while
visiting his family, relocated to
Mexico. He moved his projects into
nearby countries.
While easing into freelancing, he
won grants from government agen-
cies in Canada and earned a master's
degree in photography from York
University in Toronto.
One installation project, Familial
Ground, has been shown at the
National Gallery of Canada and will
be on view this fall at the Jewish
Community Library in San Francisco.
It consists of digitally altered self-
portraits of the photographer, who
portrays himself as his ancestors.
"My story is like the stories of any
Jewish person whose family comes
from Eastern Europe Goldchain
explains. "A lot of my family was
exterminated, and I'm drawn to their
history in a profound way. My late
paternal grandmother, Aida Ritten,
lived in Southfield, and I've visited
relatives there."
Goldchain's images in "Social
Works" originally were shown in
1989 with the title "Nostalgia for an
Unknown Land:' also the title of an
accompanying book.
"I had an exhibit of 40 or so pic-
tures," recalls Goldchain, who has
taught photography at community
colleges in Toronto. "After it toured,
the government of Canada asked me
to resuscitate it for a cultural initia-
tive in Chile, and I went back to that
country with a delegation!'
Goldchain knows both photogra-
phers whose works are being shown
along with his.
"Larry Towell and I have been
friends over the years, but I'm not
happy about his photographs taken
in the Mideast:' says Goldchain, who
joined a Jewish community group in
his neighborhood and participates in
a Sunday minyan.
"His work over 30 years has to
do with the possession and dispos-
session of land, but I don't think
he accounts for the complexity of
the Israel situation. It doesn't mean
that a person is telling the truth just
because that person is a photojour-
nalist. Like any other type of jour-
nalism, photojournalism can be the
product of a personal point of view."
Goldchain, a full-time instructor at
Sheridan Institute of Technology and
Advanced Learning, pursues his per-
sonal work after taking care of edu-
cational responsibilities. Ultimately,
he strives to capture the tension of a
dramatic moment.
"I want to photograph culture
connected to my own life says
Goldchain, who is married to a nurse
and is the father of a teenage son.
"That helps me communicate from a
place of knowledge." P1
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41