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Outland is the third installment in a trilogy of works and the conclusionf a journey begun by Dorps and Platteland . Incorporating a smallelection of Ballens photographs from the 1980s and early 1990s, butominated by new work from the late 1990s, his work has progressed to a newevel entirely. Continuing to work with poor South African whites, now mainlyn the Guateng urban area at the heart of South Africa (the cities to whichany poor whites have migrated following the end of apartheid), Ballensortraits have become disturbing and personal, he has begun to weave his ownarratives out of recurring visual themes -animals, masks and chaoticlectric wiring – the result is a collection of strangely posed tableauxhowing a world of alienation and poverty, contradicting notions of whiteupremacy for which South Africa has become infamous.
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