Rouse's toned black and white surrealist images comprise the human
form (or parts thereof), interiors (ecclesiastical and otherwise)
and occasional landscapes, inspired by the writings of Franz Kafka
and Philip Larkin with obeisance due to M.C. Escher, Salvador Dali
and Rene Magritte.
Exhibitions & Awards
Dominic's work has been exhibited in the UK and USA and in September
2001 goes on show in Zurich as part of a Frames Gallery exhibition.
He has been the recipient of numerous awards for his commercial
work and was a winner of the International Digital Exhibition Awards
(IDEA) in 1999 & 2000. Publications include Photo Art International,
Digital Photo Art, Creative Photography, The Photographer, Image,
Lenswork (USA) and a book 'Haunted by a Painter's Ghost' is due
out in Spring 2002 published by Edition Stemmle in Switzerland.
A recent review in the american Denver Post described his work as
'wonderfully elegant and witty.......what might have resulted if
Rene Magritte had tried his hand at nude photography.'
Prints Traditional silver gelatin hand-toned archival prints made
from 4" x 5" negatives; a process requiring two development baths
and a controlled bleaching which selectively prepares the shadows,
mid-tones and highlights for the toning agent. This latter process
not only tones the print but enhances its archival qualities by
adding thio-carbomide permanence to the remaining silver.
Prints are on 20" x 24" paper in a limited edition of eight and
16" x 20" paper in an edition of sixteen.
The Benham Gallery has available a limited number of prints by Dominic
Rouse. We believe art is best sold on a one-to-one basis and will
generally provide any reasonable information about the arist, including
the artist's resume, background, and the availability of books and
prints for sale. The Benham Gallery accepts most major payment types
and transactions can be carried out by e-mail, phone, mail, or better
yet - by stopping by in person so we can familiarize you with the
the work. The pictures on this site are no match compared to seeing
the real thing in person.
The dying artist's statement:
Waiting For The Past
He opened his sewered mind unguardedly And rats the size of childhood
fears Rummaged through empty cupboards Lined with the past's unhappy
news. Truth, that bastard of eternity, Dripped from a rusty hanger;
mothballed, Outmoded, death-trapped and creased, Do-goodingly given
to the needy.
Through the airless grill he clearly saw The narrow path that led
to the summit, Mist-hidden from the fading sun, And lined with the
crucified fools Who had tempted him with rack and ruin Wrapped prettily
as fame and fortune.
Beware-signs seen too late, they hung Pointing where he should not
have gone. Estate-agents still misleading him With half-truths about
the views Though it pained them to speak. Financial lizards, innumerate
now But for the hum of lap-top mendacity, Omniscient softwares that
promised Evergreen lawns and perennial cruises To half-employed,
unwaged, losers Fearing wheelchaired hospice futures.
And he wondered if they too had Planned for these chill autumnal
years Nailed now between their outstretched hands With policies
beyond redemption Maturity dates long past and still A guaranteed
amount of inflation-proof hell.
But saw in their fears they had not, Heard in their screams the
arrears They had gorged from others' profits. Unable to bear their
failures Which were by default his own, He turned his back on the
mountain That he must one day surely climb, And faced the one-room
hovel That housed his bitter past.