Ballen, Roger. Lines, Marks, and Drawings Through the Lens of Roger Ballen.

Smithsonian/Prestel, 2013. [From the essay by Robert JC Young: "Here, where humans seem caged or enclosed while animals urn free, human and animal live in a different relation to each other." Issued in conjunction with an exhibition at the National Museum of African Art.] Hardcover, black cloth with dust jacket, new in original shrinkwrap. Summary:

In Lines, Marks, and Drawings Through the Lens of Roger Ballen, the focus shifts from Ballen’s well-known psychological "documentary" photography to the graphic and linear elements that define his unique aesthetic—often referred to as "Ballenesque."

The book serves as a retrospective analysis of how Ballen integrates drawing into his photographic practice, blurring the lines between fine art, photography, and graffiti.

Key Themes and Concepts

• The Evolution of the Line: The book traces Ballen’s career from his early documentary work in rural South Africa to his more recent, staged compositions. It highlights how physical marks—cracks in walls, wires, and literal drawings—evolved from background details into primary subjects.

• The "Ballenesque" Style: This term describes his chaotic yet meticulously composed images. The book explores how Ballen uses drawings (often child-like or primitive) to tap into the "darker" recesses of the human subconscious.

• Hybridity of Media: A central takeaway is that Ballen does not view photography and drawing as separate entities. Instead, he uses the camera to "freeze" a multi-layered installation that includes painting, sculpture, and sketch-work.

• Psychological Depth: The "marks" discussed are not just physical; they are symbolic representations of mental states. The book argues that these lines act as a visual language for the "shadow self" and the complexities of the human condition.

Visual Components

Ballen’s work often features a specific set of recurring visual motifs:

• Wires and String: Used to lead the eye or "trap" subjects within the frame.

• Wall Graffiti: Often created by the inhabitants of the places he photographs or by Ballen himself.

• Compressed Space: Using flat backgrounds to emphasize the graphic quality of the marks.

"The line is a path of movement... it is a way of defining a space that is both physical and mental." — A core sentiment reflected in the analysis of Ballen's work.