INTERVIEW WITH BENJAMIN ROUSE

JLM: Comment on your background and early experiences with art and photography. Comment on mentors and influences over the years.

SR: “I was born to a Mormon family of six about an hour outside of Atlanta. I am the youngest. For most of my childhood, things were really just simple and happy. I earned my Eagle Scout, spent time with friends, and overall felt at peace with my beliefs and situation. About the age of 13, however, I experienced a sudden mental shift while washing my hands that caused all sensory input to become incredibly shrill and overwhelming. Sounds, light, and repetitive thoughts became unbearable and this lasted for many years.

Benjamin Rouse, Proof of Eternity, 2018, Silver gelatin, toned in black tea.

Although a difficult chapter, in many ways I’m grateful because it was also during this time that I made a ritual of solitude and began painting for the first time. Creating art has always been a soothing and meaningful practice for me in this way. Looking back, the incident makes me think of a quote I once read that says, “We spend our entire lives trying to solve our first ten years.” I’ve always felt this was true, but in my case, the predicament to solve was that single moment in front of the sink and my work is somehow a part of that.

As far as influences, I love the work of Hans Bellmer, Ei-Q, Masao Yamamoto, Gehard Demtez and many more. I’m also deeply inspired by my experiences as a beekeeper over the years. This is why flowers and nectar are recurring elements of my work.”

Sidney Rouse, Silo #6, 2020, Silver gelatin, toned in black tea, VIEW — Benjamin Rouse, Silo #6, 2020, Silver gelatin, toned in black tea,

JLM: Comment on your current still photography practice. What direction are you heading with your work?

SR: For the last few years, my primary interest has been combining visual elements through altered reflections. I make my own mirrors and then selectively scratch off the reflective backing to render certain areas transparent. By doing this, I’m able to photograph what's reflected in a mirror and what’s placed behind it as one. This is how the “Silo” series was created. In most cases, the figure is reflected in the mirror, while the flowers are placed behind the mirror and visible through the transparent sections.

Sindney Rouse, Cut Your Ribbon, 2018, Silver gelatin, toned with black tea. VIEW — Bejamin Rouse, Cut Your Ribbon, 2018, Silver gelatin, toned with black tea.

Benjamin Rouse Silo #1, 2019, Silver gelatin, toned with black tea, This work is part of a limited edition set.

I find experiments like the Silo series incredibly rewarding. A common thread throughout my work is this desire to always push for new ways to achieve exciting imagery in-camera, and without the use of photoshop or digital manipulation. I typically have my models cover themselves in a thin layer of white paint, which helps heighten contrast, but is also a reference to the all-white uniforms worn by Mormons during temple rituals. I have many memories of this as a child and feel these ceremonies made a strong impact on my aesthetic preferences.

Sidney Rouse, Degrees of Freedom, 2019, Silver Gelatin Print. VIEW — Benjamin Rouse, Degrees of Freedom, 2019, Silver Gelatin Print.

Religious films I was shown had a similar influence as well. Many featured armies of glowing bodies amongst mist and all white landscapes. Glowing things on top of glowing things. Going forward, I see myself working more with flash in conjunction with the white body paint to create my own glowing figures, but ones truly free amongst landscapes and situations of my own choosing.”

JLM: Comment on your materials and use of traditional darkroom processes and toning.

SR: I love working in the darkroom. The pace it requires makes it easy to get into a flow state and lose myself in the process. I typically work for 8 hours at a time and am always left feeling it’s not enough in the end. The local art center I’ve been utilizing has their darkroom tucked away behind a revolving door, at the end of a long hallway, in a building left empty due to the pandemic, so it always feels like passing through many layers of privacy as I make the journey there.

In addition to my usual printing practice, I’ve also begun soaking the prints in various black teas to provide lift and warmth. I read about Yamamoto and Sally Mann using this technique of tea-toning so I was interested to try. Depending on the temperature, paper type, and duration within the tea, the process allows the highlights to take on subtle ivory hues or even more golden wheat tones with time.

This differs from common sepia toning which uses harsh chemicals and affects both the shadows and highlights equally. Overall, I simply love that no two prints are ever the same. Each has its own character and journey and that continues on even once the print leaves my studio.”

Sidney Rouse, Silo #2, 2020, Silver gelatin, toned in black tea, VIEW — Benjamin Rouse, Silo #2, 2020, Silver gelatin, toned in black tea,\

JLM: Comment on Blot and your upcoming film. Do you see yourself doing more film and multimedia in the future?

SR: Blot was my first attempt at seeing what it would look like for some of my photographs to move. Much of the film is stop motion, so it felt like a very natural progression of what I was used to with my photo work.

I began by experimenting with friends on various scenes, and over time felt they began to tell a story. A reoccurring image within the film is a figure repeatedly being pulled away from the viewer, but tethered by a string. For me, the string represents the connection we have with those we no longer have access to.

Once completed, I was encouraged to submit it to film festivals and surprisingly was able to showcase it in various cities across the US. This was the first time my artwork allowed me to travel a bit and I found the film community to be incredibly supportive and encouraging. Following the green lights, I decided to begin my second short film, “Deeper Needs” which is still in production.

The film follows a young woman who ingests a ball of light and embarks on a symbolic journey to confront her own deeper needs. Although the film follows her story closely, the ball of light is actually the protagonist.”

JLM: What else would you want our collectors and patrons to know about you and your work?

SR: I’d just say that there is no one particular way to view the photographs. Their creation often feels like something happening to me instead of a process I have to consciously will. Because of this, I feel I’m interpreting them just like anyone else viewing for the first time. All is an open invitation instead of a fixed conclusion. Also, I’m always looking for fellow art lovers to connect with so feel free to contact me either via email or through social media. Always happy to discuss further.``