Enigma 360 4hd Camera

[Vannessa Rataj]

Ibelieve that all art media reacts with the processes going on in the world, encourages people to see deeply ourselves and the world: why we are in this world, what will remain after us for future generations. Processes like education, climate change, technology, international connections between countries and cultures connected with humanity are ongoing, and they are part of our integration that we have to be aware of.

This series, Enigma is my interpretation of the relationship between our human existence and the Earth. This bond is a full mix of fantasy and mystery that stimulates our minds to invent and invigorate possibilities.

My process is to use in camera double-exposures as metaphors for my vision. In these dual images, my subject becomes a mythical being as he blends with an untamed natural setting, forming an altered reality. The result is a dive into a human soul.

We all witness the endless flux of life. I invite and provoke the viewer to see deeply into what mysteries are hidden in the intimate corners of the soul. I hope that in the end, one finds answers as to what legacies will be left behind.

At the market, I pick each one up, pulled in by the shapes as they sit together, waiting. I feel its heft in my hand, enjoy the textures of the skin or peel, and begin to look closer and closer. The patterns on each individual surface marks them as distinct. I push further still, discovering territory unseen by the casual observer, a new land. I am like a satellite orbiting a distant planet, taking the first-ever images of this newly envisioned place.

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Ina (18.66N, 5.30E) is one of the most enigmatic landforms on the Moon. First discovered in Apollo-era photographs, then intensely studied with modern observations, its nature is still unknown. The Sun is shining right-to-left, 40 centimeter pixels, width 440 meters. Image: NAC M175246029LR [NASA/GSFC/Arizona State University].

Some scientists propose that Ina formed as very young (less than 100 million years) volcanic eruptions because only a few larger impact craters (>20 m) have formed on its surface. Others believe it is quite ancient (3.5 billion years), possessing highly unusual physical properties that stifle the formation of normal impact craters. At least everbody agrees it was formed as basalt was erupted to the surface! But how and when Ina formed remains open.

Ina's morphology is so unusual that it is easy to see inverted topography - that is, craters appear as bubbles rather than bowls! Think of Ina as a cast iron frying pan with freshly poured pancake batter; the wiggly textured material is the frying pan and the bulbous smoother mounds are the batter (light is coming from the right side of the picture).

Why do we sometimes see craters as bubbles (or pancakes as depressions)? The effect is simply an optical illusion, your brain is expecting the lighting from one direction but it is coming from the opposite direction. So, the illuminated depression is seen as a bulge. Try staring at one crater and telling yourself the light is coming from the right, the light is coming from the right... perhaps you can force the bubbles down and see craters instead?

Les Douches la Galerie presents, for the first time this Fall, a solo show by Roger Ballen, including his early series from the 80s and 90s. The South African photographer has been exploring the twists and turns of his subconscious for over forty years, creating stagings which invoke the themes of marginality, strangeness, the relationship between the human and animal worlds.

During the summer of 1972 I took a theatre course at Berkeley. It was taught by a Professor Oliver, an inspiring academic who introduced me to the theatre of the absurd and such playwrights as Beckett, Pinter and Ionesco. For nearly a month I read a play every day. This one-month course gave me my understanding of the theatre and would have an impact on my work for the next few decades. Also during the summer of 1972, I took a course in film-making in San Francisco. After completing the course, I decided to direct my first film, Ill Wind (1972), influenced by my studies of the theatre. The central actor in the film was Larry LePaule, a fellow classmate. Larry was a natural, slotting into the character that dominated my script. He had a habit of breaking into a Hitler oration and had a love affair with a German girl. In August 1972, with the script for Ill Wind completed, I began a month-long shoot with Larry. The film documents a Beckett-like character as he walks from place to place, going from nowhere to nowhere, leading a life of habit and rootlessness. The end of the film repeats the narrative of the beginning. I did not watch it again until 2014, when by chance I remembered that I had stored it in a safety-deposit box at a Johannesburg bank. The inspiration for the character of Stan in my film Outland (2015) can be traced back to Ill Wind. Certainly, it has become clear to me that my interest in outsiders, the marginalized, absurdity, extends back to my early youth, and not the point at which I began photographing in the small towns of South Africa in 1982.

You traveled to many countries, including a round-the-world trip, before settling in Johannesburg, where you lived since 1982. What attracted you to South Africa? Your very first series taken in this country, Dorps, which will be exhibited at Galerie Les Douches, initially shows photos taken outdoors. What was your creative process at thet time?

Up to the time I started photographing in the dorps, my camera of choice had been the more portable, less visible 35 mm. In the dorps, however, it gave way to the 6 x 6 cm Rolleiflex I had purchased in 1981. The square format of the Rollei fitted the greater stillness, the more classical and calculated composition, of my new images. Its size meant a slower, more deliberate approach, a more consciously acknowledged relationship with my subject. As I looked through the camera touching my stomach, I felt I was expressing my deeper self. The square was a perfect form, in which every side was of equal importance, equally balanced.

For some time, I wondered what it was about the dilapidated, broken, un-monumental architecture that so attracted me. It was an aesthetic that I identified with, and which left a permanent mark on my work. Like the broken granite boulders that I often came across in my professional life, this element that I began photographing was a metaphor for the fact that no matter how hard we try, we will be defeated by time.

I was stuck on the ground. I thought of them exclusively as creatures of the heavens. My personal belief is that the relationship between animals and humans is essentially adversarial and exploitative. Most societies try to deny this fact, but it is clear to me that the destruction of the natural world continues unabated. In the years I spent photographing Asylum of the Birds, I became more and more convinced that human nature is the ultimate culprit, responsible for the worst of all holocausts. The links that bind us to the planet are tangled and broken. What terrible things do the birds see as they look down from the sky? It is becoming difficult for them to find nests to return to.

The best way to describe what is strange in my work is the word enigma. In short, I do not have a lucid explanation for this part of my work. Many of the elements in my photographs are beyond my conscious mind; it might be years before I come to a conclusion about them. These are the images I am most inspired by, the ones I do not understand.

So far, we have had a great response from many people who have never been to a museum before. I think 90% of the population here has never visited a museum or a gallery so if they come here, they are really amazed.

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