RAW: Bill Henson – early work from the MGA Collection – Samstag to 16th December

After so much controversy in recent years, it is a treat to be able to view original Bill Henson images at the Samstag and make judgments for one self about their quality and morality. It is also pleasing that the existence of this exhibition has not attracted the prudish in outrage – those middle aged preachers perhaps relocating from Rundle Mall and spruiking their views in the west end, led by Rob Brokenshire or some other Family First advocate. It may be of course that the number of other movements presently going around means something like ‘Occupy Samstag’ is just one too many.

Not that these works are likely to get those get agitated about nude adolescences panting – apart from two series of bare male chests there is not a pubescent’s boob to be seen (alright, there is one set).

What you have are extracted images from six major Henson exhibitions that in their numerous forms take you very clearly into Henson’s world of semi darkness, the dream state, the period of transition from one form to another.

Given Henson’s complete exhibitions total many images, from 30 to 300, it is perhaps a weakness of this touring exhibition that we don’t have the benefit of seeing any of the complete collections and how the images we do see fit within each corpus. (Still, it is now quickly acknowledged that what we get instead to our benefit are titbits of many to satiate an appetite for Henson’s work not much otherwise catered for in Adelaide.)

The six images from his untitled series of 154 in 1985-86 (rear eastern wall), a homily to Henson’s suburban upbringing, are a case in point. Temples, burger spots and alone teenage girls, all taken at dusk, give us a flavour but perhaps not the substance of the entire exhibition which must have been quite something given the printed size of each of these images.

Nonetheless, across them all there is more than sufficient to give the viewer that sense of dark, isolated transition that so permeates all his images – from day to night via dusk, child to adult via adolescent, awake to sleep via dreams. The paucity of images in each set perhaps also forces a closer inspection of what is presented, highlighting their twin merits as individual images as well as their possibilities within a set. The image of the girl in the water at night (one of the aforementioned series) is quite beautiful (not only because it is about the only image on show from his older work that has a sharpness to it.)

Of particular interest is Henson’s 1980-82 series of people and faces photographed on a variety of city streets around the world that take you into an adult world where even in the masses, those portrayed seem so adrift, haunted, bleak and isolated, highlighting how fleeting a sense of belonging can be.

Also included are six or so recent landscapes, large images of great luminosity that again manage to depict a sense of transition. #29 reminds one of some scene in a James Bond film, a perhaps previously hidden lagoon that is guarded by two massive and sheer rock outcrops that seem to be closing in on the space between them. Largo or Spectre would feel very at home here hatching their plans for world domination.

Next to it is #17, a crashing waterfall of folding water and spray that enters into a seeming abyss below that swallows whatever will come its way. Again, a stunning but troubling vista all in one.

Any interested in photography or particularly Henson’s work should be sure to visit. The gamut of images displayed ensure a greater appreciation of Henson’s work will be obtained relative to the often contrasted up images that make it into photo books and the media focus on his under dressed teenagers. The depth of work and themes as well as the trademarks are all at the Samstag to be enjoyed.

Also, Bill Henson will be ‘in conversation’ with’ Adelaide Festival director, Paul Grabowsky at the Samstag at 5.30pm, Monday 21 November 2011. Tickets and details on the Samstag website – Samstag Website