The Collective Unconscious

Sometimes a little self-reflection goes a long way. On the eve of his talk at Photo London 2017, photographer Roger Ballen reflects on his controversial career. 

- Oliver Atwell

Of all the photographers who have passed through culture’s gates of consciousness in the past few decades, only a few have been known for their ability to raise the hackles of the audience. Photography has often found itself subject to accusations of exploitation, whether that exploitation occurs within the context of blasphemy, pornography or, most commonly, taking advantage of those who may not be in a position to judge whether or not they should be photographed.

In the case of Roger Ballen, he’s a photographer who, at the earliest stages of his career, often found himself accused of exploiting marginalised and mentally unstable South Africans in order to create sensationalist portraits in books such as Platteland, Shadow Chamber and Boarding House. However, there’s an argument to be made that this tired – almost clichéd – condemnation of Roger Ballen’s work is something of a smokescreen.

In my own experience, when I first saw Ballen’s work some years ago, it caused me look away, to almost attempt to ‘unsee’ it. It’s only in retrospect that I can look back at my reaction and realise that my horror of it was inspired by my own inability to face a photographer who was utterly untroubled by plunging into his own subconscious.