“Dahlia is a flower. Maybe a car. Definitely a mother.” These words accompany images uniting women and cars in Dahlia, photographer Vera van Dam’s (b. 1989) debut monograph. The Amsterdam-based image-maker presents a collection comprised of tender close ups and moody still life shots of fabric seats. It’s part of the Foam Editions gallery, a platform for emerging image-makers to share work with prospective buyers. Now, Setanta Books shares this project with the public in a brand-new publication. Throughout her career, van Dam has focused on the portrayal of femininity in society and has drawn upon filmic framing and enigmatic compositions. Her new book is an act of reclamation. She concludes: “In this project I found a way to reclaim what has been hijacked by the masculine kingdom … By focusing on both their levels of intimacy and anonymity, I realised cars are as personal and universal as the female body.”
In Dahlia, the camera’s lingering gaze is not used to emphasise the make and model of the vehicle. Instead of external markers that would differentiate a Bugatti from a Ford or a Nissan from a BMW, van Dam draws our attention to the interiors. In one scene, sunlight illuminates a car seat. The speckled fabric cover is reminiscent of moss, giving the mundane moment captured an ethereal, otherworldly quality. Elsewhere, we catch a glimpse of a ridged, burnt orange surface that looks like corduroy. These vacant seats clue us into the people that are absent. Who occupied this space before? What was the owner of this vehicle like? Where have they gone? There’s an air of mystery that makes these images all the more enchanting.
The portraits provide some answers to the questions posed by the vacant driver and passenger spaces. Intimate close ups might remind the viewer of playful snaps taken of friends on a road trip. One subject peers over the slightly declined window, gazing intently on a fixed point behind her. Other shots give us an idea of the destination that these figures are driving towards. For instance, one woman floats in a pool of water, suggesting we’re going to a lake or the seaside. Another model shields her face from the bright sunshine and leans against a rocky surface. The tender, unspoken bonds between characters gives the series a peaceful quality. There’s an air of relaxation that draws the viewer into the world behind the lens.
Vera van Dam has done a fantastic job reframing viewers’ perception of cars. These vehicles might usually make us think of cold, harsh metal, noisy engines and polluting exhaust fumes. Advertisements ask us to associate them with luxury, practicality and status whilst films and TV shows show them as extensions of characters. We might think of the Batmobile, the Ford Thunderbird in Thelma & Louise (1991) or Cher’s white Jeep Wranger YJ in Clueless (1995). Vera van Dam paints another picture entirely. Here, cars are a space for connection. Anonymous shots bring to mind memories of long car journeys to exciting holidays, sharing space with loved ones. Some might recall their early driving lessons or regular commutes back home after a busy day at work. Tranquillity, intimacy and nostalgia are feelings that define Dahlia.
Vera van Dam: Dahlia | Setanta Books
Words: Diana Bestwish Tetteh
Image Credits:
- Vera van Dam, Dahlia 22 (2024). Courtesy of Setanta Books.
- Vera van Dam, Dahlia 27 (2024). Courtesy of Setanta Books
- Vera van Dam, Dahlia 21 (2024). Courtesy of Setanta Books
- Vera van Dam, Dahlia 15 (2024). Courtesy of Setanta Books
- Vera van Dam, Dahlia 41 (2024). Courtesy of Setanta Books
- Vera van Dam, Dahlia 44 (2024). Courtesy of Setanta Books
- Vera van Dam, Dahlia 22 (2024). Courtesy of Setanta Books
