Dear friends and family of our dark art community,

Today, we are honored to share an incredibly insightful and thought-provoking interview with one of the greatest dark artists of this generation: Roger Ballen.

Roger Ballen is a South Africa-based, renowned American-born photographer and artist. Known for his distinctive and haunting black-and-white imagery, his work masterfully blends elements of documentary photography with surrealism, provoking deep psychological reflection in the viewer. His photographs and installations, often featuring unsettling and dreamlike compositions, delve into themes of identity, chaos, and the subconscious.

Yet, even this introduction barely scratches the surface of the depth and complexity of Ballen and his extraordinary work.

Over the decades, his unique artistic voice has earned him international acclaim, profoundly influencing contemporary photography and visual storytelling. We were fortunate enough to gain a glimpse into his incredible mind through this interview, and we’re incredibly excited to share it with you.

Keep reading to find out more about Roger Ballen’s thoughts on dark art, authenticity, and the human psyche…

1. Starting a bit with your roots… You’ve lived in South Africa for decades. How has this experience influenced your worldview and your work?

Living in South Africa has profoundly shaped my worldview and work. The contrasts here—the coexistence of stark beauty and raw chaos, cultural divides and connections—mirror the complexities of the human condition itself. I often feel at home in both worlds: the structured Western world and the more instinctual, visceral African world. This duality has influenced how I see and portray the shadow self, the part of the psyche that society often represses or avoids confronting.

The unique tension here between beauty and decay, light and shadow, has pushed me to explore the deeper, more enigmatic aspects of existence. My work is an attempt to tap into these contrasts, creating a psychological and existential dialogue that transcends geography.

1.Old Man Ottoshoop, 1983. 2. Man Shaving on Verandah, Western TV, 1986. 3. Dresie and Casie, Western Transvaal, 1993.

2. Do you remember the first time you had a solo exhibition? How did that Roger feel, and what did he think?  

The first exhibition that I can remember was at the University of California Berkeley in 1972.  I was proud of this show and took all my friends to view it who were impressed with the quality of the photographs. 

3. What is the most significant memory you have of your early art exhibitions?

Photography was very much a hobby when I started to exhibit.   I was always very gratified that there were visitors to these shows and was pleased to read the occasional reviews of the shows in a newspaper or photo magazine. 

4. If you had to define the purpose of your work in one sentence, what would it be?

Through my art, I aim to challenge the viewer: to confront the repressed and unresolved, to interrogate what can be seen as real or unreal, to evoke introspection and foster greater self-knowledge.

1. Inevitable, The World According to Roger Ballen. 2014. Devour, 2013. 3. Tormented, 2013.

5. Your work is characterized by its unique and often unsettling approach. What inspires you to explore the darker and psychological aspects of human existence in your art?

I am driven by a desire to understand my own mind. My work delves into the unconscious—a realm where fears, desires, and unresolved memories reside. Exploring these darker layers is not about morbidity but about uncovering truth. The unsettling aspects of my images serve as mirrors, reflecting the complexities of my inner self and challenging me to confront what often lies hidden.

The drawings I create for my photographs are not made with the viewer in mind; rather, they are a means of connecting one part of myself to another.

The process is akin to descending into a mine—journeying deep into the psyche, down to its hidden levels. But discovery is not enough. The real challenge lies in bringing what I’ve unearthed back to the surface, making visible what was once buried. This act of retrieval is what drives my work, transforming my exploration of the subconscious into something tangible, raw, and revealing.

6. In a context where art increasingly seeks market approval, your work stands out for its authenticity and depth. How do you manage to keep your artistic voice intact in the face of commercial pressures?

I’ve always created work for myself, not for others. Staying true to my vision means resisting the temptation to conform to market trends. Authenticity comes from a relentless commitment to exploring one’s own psyche and creating images that resonate on a deeper level, beyond commercial validation.

7. You’ve challenged the category of what is considered ‘beautiful’ or ‘marketable’ in art. What do you think about the market’s obsession with commercial and aesthetically pleasing art?

The market’s focus on aesthetics often simplifies art, reducing it to mere decoration. True art should provoke, challenge, and disturb—it should linger in the viewer’s mind. Beauty, as I see it, is not about surface appeal but about emotional and psychological resonance. By breaking free from conventional notions of beauty, we open the door to deeper, more transformative experiences.

8. Dark art is often associated with an interest in death or disturbed personalities, when in reality, this type of art encourages introspection and address’s themes that make society uncomfortable but are inevitable, even if avoided. Have you ever encountered this kind of misunderstanding or prejudice towards you and your work?

Absolutely. My work has often been labeled as disturbing or grim, but that’s a surface reading. What I’m really exploring are universal themes—fear, desire, memory, the subconscious. The discomfort my work evokes is an invitation for introspection. Misunderstandings arise when people shy away from confronting these deeper layers of themselves.

9. How do you see Dark Art fitting into contemporary galleries? What value does it bring, and what challenges might it face?

Dark Art has immense value in its ability to challenge and disrupt, forcing viewers to engage with uncomfortable truths. Its place in contemporary galleries is essential for pushing boundaries and expanding the definition of art. The challenge lies in its resistance to commodification; it doesn’t always lend itself to easy consumption, which can make it harder to gain mainstream acceptance.

10. Do you have any ritual or peculiar habit you follow before starting work on your art projects?

When I leave my office to photograph, I feel my mind shift into another state. It’s as if my eyes turn inward, and I begin to see the world differently—soundless, wordless, and undefined. This transition is my ritual; it’s a psychological preparation to enter the realm where my images come to life.

11. If you could collaborate with any artist, living or dead, who would it be and why?

I would be fascinated to collaborate with someone like Hieronymus Bosch. His visionary, layered worlds of surreal and symbolic imagery resonate deeply with the psychological landscapes I explore. It would be extraordinary to see how our approaches might intersect.

12. If you hadn’t been an artist, what other professional path would you have liked to explore?

I have a PhD in mineral economics and did work as a geologist for 30 years. Geology is about exploring the layers of the earth, while psychology is about uncovering the layers of the mind. Both disciplines align with my interest in digging beneath the surface to uncover hidden truths.

13. Returning to the art market… Many young artists struggle to find a space in a market saturated and controlled by big names. What changes do you think should be made to open up more opportunities for new voices?

The art world needs more platforms that prioritize authenticity over marketability. Emerging artists need access to spaces that encourage experimentation and risk-taking without the pressure of commercial success. Mentorship programs and alternative exhibition spaces could play a vital role in fostering new voices.

14. Without a doubt, many of us would love to be inside your head and see what Roger Ballen thinks on a day-to-day basis. What is Roger like when he’s not being an artist?

When I’m not working, I’m a quiet observer of the world around me. I spend time reflecting, reading, and finding inspiration in small, often overlooked details. My mind is always active, even in moments of stillness—it’s just part of who I am.

15. What do you think about Dark Art Gallery’s mission?

I deeply respect your mission to challenge traditional binaries and provide a platform for misunderstood forms of art. By amplifying authentic voices and breaking free from the constraints of market-driven aesthetics, you’re making space for art that provokes, questions, and transforms. Supporting younger artists and emphasizing craftsmanship ensures that this important movement continues to thrive. You’re giving a voice to art that speaks to the core of human existence, and that’s invaluable.

1. Shivering, from Ballenesque, Roger Ballen: A Retrospective, 2020. 2. Virus Hunter, from Ballenesque, Roger Ballen: A Retrospective, 2020.

For more insights and explorations into the world of dark art, visit our Dark Art Gallery and immerse yourself in the captivating works of these and other visionary artists.

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