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Ben Cauchi

For the past decade Ben Cauchi has engaged in a practice examining the nature of photography, the passage of time, and the psychological dimensions of viewing. His work is made using the very earliest photographic techniques; the wet-collodion photographic process, producing ambrotypes and tintypes; one-off positives on glass or metal. It is a process invented at a time of pioneering discovery in the worlds of science, industry and reason, yet also a time when spiritualism and mesmerism held the public imagination. This dichotomy is at the centre of Cauchi’s work; he stages scenarios in the studio and, using the photographic process itself, blurs the lines between what is, and what is not; and in so doing investigates the space between the empirical and the incorporeal.

As writer and critic Gregory O’Brien has said: Cauchi “has not only mastered long outmoded photographic techniques but he has revitalised those traditional ways of making and seeing within the context of contemporary photography and the present day world. Beyond their mystery and occasional sense of menace, his immensely refined images are also repositories for lyricism and, at times, a dark but nonetheless exquisite beauty.”

Cauchi’s solo show, Echo Chamber, was exhibited at Ingleby from May- July 2015. New ambrotypes by Ben Cauchi  have been presented at Ingleby as part of the year-long rolling sequence of exhibitions, and per se and. In May 2017 Cauchi’s work was paired with nine volumes of The Life and Opinions of Tristram Shandy by Laurence Sterne and Dark Days (2017), three sculptural works on paper, by Susan Collis.

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