Benjamin D Rinehart
The Boys & Bubs #3: Nun-Ya, 9" x 9" x .375" (closed), 9" x 34.5" x .375" (open), 2017, archival pigment print & silkscreen.
It’s not uncommon for strangers to approach my family to better understand the “situation”. Being a same-sex couple and having children often prompts unsolicited comments or questions like “Isn’t that nice that the mom’s had the day off.” or “Where did you get them?”. We typically filed this under the category of “none of your business” or “nun-ya” for short.
Despite the educational value of this type of exchange, some people persist with deeply personal questions as to how the boys came into our lives, parental roles, and other aspects of our family life. Because of the frequency of these questions we realize the desperate need for education on alternative family structures.
When approaching a stranger with questions in mind, ask yourself “Would I feel comfortable if someone asked me that?” This is not an opportunity to satiate your curiosity, talk through personal feelings, experiences or opinions. Is it appropriate to engage someone who already feels marginalized? When in doubt, wait.
“Color in essence is a visual retelling of stories that is deeply associated with all aspects of my life.”
Benjamin D. Rinehart is an artist living and working in Appleton, Wisconsin (USA). His approach to color is intuitive and reflective, and his approach to printmaking is based on layering and unique color combinations. Benjamin’s socially charged work is created primarily with reductive printmaking techniques that are incorporated into pop-up’s and movables, in a variety of book formats. Currently he is working on a series called “The Boys & Bubs”.
This new series inhabits the universal themes of family, relationships, children, and parenting. “The Boys & Bubs” focuses on a narrative of two brother with same-sex parents and was started in 2015. Benjamin explains, “I attempt to raise questions about love, insecurities, social injustices, and values in contemporary society. Specific personal/social encounters are used as inspiration in developing each theme and structured to educate the viewer. Raising two children with my male counterpart affords me the opportunity to revisit my childhood, acknowledge my evolving identity, and determine my role going forward in society. The books range in terms of process, physical elements (pop-ups, movables, text, flaps, etc.), and structure. I direct the viewer’s experience with tactile, visual, emotional, and psychological responses. This suite of books has the same dimensions (9” x 9”) with variable widths. When complete they will fit into a collector slipcase.”
Are there specific associations towards color in your work?
Every time I conceptualize a project, it is fueled by memories and the colors that I associate with that experience. Topics range from childhood to the present, but always incorporate personal elements. I recall the emotional impact of the experience, the environment, and the personal relationships so that the color palette informs the final image.
I choose printing methods that require drying time, additional cutting as with the reductive process, etc. allowing me to visit with the process longer and fully immerse myself into the creative process. I listen to music relevant to each happening to further influence each story. Color in essence is a visual retelling of stories that is deeply associated with all aspects of my life.
“As a member of the LGBTQ community, color inspires who I am and informs how I represent myself. It’s not just about rainbow flags and party scenes, but rather a chance to relate to color as a personal expression in a world that all too often encourages masculinity and discourages unorthodox color choices.”
The Boys & Bubs #8: Seasons of Change, 9” x 9” x .5” (closed), 9” x 9” x 9” (open), 2016, pressure print, reductive woodcut, and archival pigment prints bound as a tunnel book.
The USA offers a diverse range of scenery and opportunities with the change of the seasons. Swimming, climbing trees, playgrounds, gardening, riding bikes, bon fires, pumpkin and apple picking, sledding, and snowball fights are just a few things that come to mind. My family is no different than many others when it comes to enjoying the great outdoors.
The Boys & Bubs #9: Toys=Fun, 9" x 9" x .375" (closed), 18" x 9" x 8.5" (open), 2015, reductive woodcut and archival pigment prints bound as a slide-o-matic book.
I worked at a toy store for years and was required to test all of the new toys to better serve the customers. Since then I strongly believe that every child should have access to a variety of toys free from ridicule because of bias, stereotype and/or intended audience. Let a boy wear a dress and carry a doll or a girl play with superhero Legos while wielding a sword. The most important thing is to be creative, play, and have fun!
What cultural aspects of color are built into your work?
As a member of the LGBTQ community, color inspires who I am and informs how I represent myself. It’s not just about rainbow flags and party scenes, but rather a chance to relate to color as a personal expression in a world that all too often encourages masculinity and discourages unorthodox color choices.
I choose to be visible through my imagery as well as through my brightly colored attire. Color is a great conduit of expression for me in all aspects of my life. Embracing this approach releases me from conventional societal constraints.
“The reductive processes work well on a conceptual level as well since after the work is completed, it can never be replicated.”
How does the printmaking process itself relate to how you work with color?
I employ a methodical build-up of color. Each layer informs the next to visually saturate the surface of the printed material. The reductive processes work well on a conceptual level as well since after the work is completed, it can never be replicated. I like this notion, despite typically creating editions, since there are a limited number of prints that can be shared with an audience. The taking away of the material (wood or paper) is cathartic while also bringing unity to each print through layering. I enjoy seeing how the image materializes through the process to a point of completion.
The other aspect of printmaking that I thrive on is the constant problem solving. Creating artist books further complicates the process, but the benefit is that it challenges me to find the best possible solution for each project. The time consuming nature of my process allows me to visit and revisit with each printed layer.
The Boys & Bubs #11: The Wig Master, 9" x 9" x .75" (closed), 17" x 9" x .75 (open), 2016, lithograph, pressure print, and archival pigment prints bound as a box with hinged doors and magnets.
Gender fluidity and freedom of personal expression are important credos in our household. The idea of changing one’s outward appearance with the ease of taking on or off a wig is enticing and fun. Styling and wearing wigs are a normal part of our kids world because of Joshua’s profession as a wig master. This has given our kids a chance to experience a variety of styles that cross gender in appearance.
The magnetic wigs are reminiscent of iconic figurative refrigerator magnets; like the statue of David dressed like Marilyn Monroe. Opportunities to switch one’s outward appearance are socially restrictive and often limited to holidays or masquerades.
Whenever and however you choose to express yourself, embrace it!
What would your work be without color?
The color theory and printmaking courses that I took in art school changed my relationship with color forever. I grew to have a deep understanding of application, resonance, and the emotional quality that is imbued in each composition. My work would tell a different story if color wasn’t used.
I never use a color straight from the can, nor do I ever print in a solid flat black. Black ink brings on heavy emotions that are concrete. I aim to invite the viewer into each composition through playful color combinations to deliver compelling content. Value is built through layering, much like a painter that utilizes glazing methods. I don’t shy away from any color and actively pursue unique color combinations with each new project.
The Boys & Bubs #1: Daddy & Papa, 9” x 9” x .5125” (closed), 18” x 9” x 6” (open), 2016, archival pigment, pressure print, and hand stamping bound as a soft-cover lift-the-flap book. This lift-the-flap book details the journey of two individuals who met in New York City and eventually moved to Appleton, Wisconsin to start a family. Each page has multiple tabs that reveal the narrative.