Benjamin Lichtenstein ‘Death Adder’ and ‘Paperwork’
The results of Benjamin Lichtenstein's man-handling, L Wait Up, 2012, R It's Not a Dude, It's a Cactus, 2012. Unique state, silver gelatin print, 45x35cm
April 2013, Chapter House Lane staged an exhibition of work by Melbourne photographer Benjamin Lichtenstein. I first met Ben when Lou and I went to Neo Frames in Collingwood to get works for another exhibition framed. He was working there as a framer (I think he still might) and happened to have an exhibition, 'Cereal Dust' on display in the neighbouring NeoSpace. We popped in to take a look and it remains one of the most impressive collections of black and white artwork I've seen. I switch to the use of 'artwork' here intentionally as he creates single-state pieces in the darkroom – no to editions – yes to random forces.
The black and white experimental images he created for ‘Death Adder’ at Chapter House Lane, beautifully demonstrate his technical proficiency in darkroom development. I wrote: 'The exhibition charts his test efforts at pushing the parameters of exposure and its impact on negative film and slide forms. The less precise: a studio-staged hula hooper is lost in grey fog; the more precise: a handheld light is focussed in a beam, to influence the outcome of the print.' Even still, the snake like tracks go unseen until the chemical process is complete, the artist adding to the work blind, comfortable that he eschews the definite in the digital in pursuit of intrigue and an innocent interest in the science of photograms. Lichtenstein graduated from the VCA in 2009 and in late April will participate in a group show at C3 which looks at six artists’ experimental photographic work.' We went on to exhibit the artist again in Winter of 2014 at Chapter House Lane's Johnston St project space for three reasons. His work continued to impress, he's a complete professional and an all-round good guy. Of 'Paperwork' I wrote: 'Over many millennia, papyrus – the reedy plant from the banks of the Nile – managed to morph into paperwork. Piles and piles of the stuff, sometimes filed, sometimes scrunched, a persistence to modernity. A rudimentary thing of such little beauty, except for that, it has at times been perfumed, embossed, printed and cut into such magnificence our disdain must at least be challenged.'
For Lichtenstein – a canvas – on which he builds up and out, manipulating the fibrous pith beyond basic recognition; altering its state with light, ink, paint and acid emulsion. The layered results have all the grace and shadow play of an Indonesian silhouette, delivered with an undeniable darkness.' Exploring the outer regions of photographic classification, Lichtenstein’s ever changing combinations: sharpie, sabre, finger-paint, fonts – create unique-state eye-catching prints. 'Lou continues to work with Ben, his most recent series looking at his love of footy. A selection of work and a Q&A with the artist is published here.
L. Untitled. Unique state silver gelatin print from Death Adder, 2013, 11x80cms. R. Untitled, Unique state silver gelatin print, from Paperwork, 2014, 22x17cms