Dahlia
Vera van Dam is an Amsterdam-based artist who is focused on the research of femininity in society. Her photobook Dahlia was published by Setanta Books. Through this project, Vera aims to challenge the traditionally masculine narrative that formed connections between men and cars by introducing a metaphor that links the female body to a car. Exploring the new angle, Vera encourages viewers to engage with femininity in a way that contrasts with the predominantly masculine culture to enable a new type of conversation.
This conversation creates a connection between the skin, the female body, and the metal shell of the car. The softness of the interior of the car, the sensation of touch, and the safety that is transmitted all reflect characteristics pertaining to both protagonists of the story.
Vera holds a BA in Communication Science and an MA in Persuasive Communication from the University of Amsterdam. She studied Art Photography at Fotoacademie Amsterdam, followed by completing a residency in Berlin and working as an assistant of Paul Kooiker. In this interview, we discuss with Vera the inspiration behind the project, “When I saw these projects side by side, I was struck by the cliché of the two topics portrayed: women and cars. Both have been subjects of advertising. I felt a new perspective was needed within the masculine-dominated narrative.” We also talk about the process of editing and printing involved in creating a narrative that resonates and enables a shift in perspective. We conclude with advice on the importance of printing your own work to be able to analyze it on a different level.
Photography by Vera van Dam Design by Vera van Dam Martina Krosneva Office Merel Korteweg Printed by Chemistry Publishing Text by Rolien Sandelowsky Published by Setanta Books Special thanks to Alex Buchan Book signing at Polycopies Paris
Publication Details
Softcover
297 x 210 mm
Limited edition of 250 signed copies
Caheer stitch binding
PVC jacket
68 pages
46 images
Get your copy at https://www.setantabooks.com/collections/vera-van-dam
‘It's some kind of fetish — the voyeurism of looking into these 'homes' of other people, curious about who the owner is and what their story might be.’
Masculine Narrative
Hi Vera, congratulations on publishing the photo book Dahlia with Setanta Books. What was the process like for you on deciding to juxtapose women and cars while entering the predominantly masculine narrative often portrayed in films, commercials, and TV shows? What stood out to you during your research on this topic?
Thank you, Nastasia! The process was quite intuitive. In my work, I'm focused on the portrayal of femininity in society, and working on various projects within this theme. Alongside, I was searching through my archive to find recurring threads, which showed that subconsciously I was photographing cars. It's some kind of fetish — the voyeurism of looking into these 'homes' of other people, curious about who the owner is and what their story might be. Seeing these projects side by side, struck me by the cliché of the two topics portrayed: women and cars. Both have been subjects of advertising. It feels a new perspective was needed within the masculine-dominated narrative.
‘The dark areas carry a sense of mystery and the unknown. I like to invite the viewer to imagine what could be there.’
Dahlia
The presentation of the female body creates a sensual visual with a delicate focus on body parts such as the back, legs, breasts, and face in conjunction with the car's interior. Dahlia shifts the gaze from the objectification of women’s bodies to the fluidity between the woman’s body and the car, both representing a shield from the outside world, embodying softness and safety within. The metaphorical connection between Dahlia (the flower), the car, and the mother tells a different story about women and cars, transforming the perspective to a feminine point of view. What lessons have you learned while exploring this narrative, particularly in juxtaposing light and shadow, the inside and the outside, and the female body?
While exploring the narrative, I like to play with different elements to create a certain tension. I learned that some parts can feel uncomfortable but much needed to comprehend to the narrative. The strong contrasts in images feel not so much as a choice, but as a way I see the world. The dark areas carry a sense of mystery and the unknown. I like to invite the viewer to imagine what could be there. The close crops offer an intimate view on both bodies and the tactile car interiors. Together the warm skin and the cold metal contradict but are also fluid together in form.
‘The project is all about sunlight. The blank space in the upper part of the page resembled the sky beaming in sunlight.’
The Layout
When collaborating on the layout and design with Merel Korteweg & Martina Krosneva, what was most important to you in conveying the story as intended? How did you approach the use of white space, text, and the decision to incorporate double images versus stand-alone images on each page?
The edit was like a road trip that unfolded. While editing, I imagined a song playing on the radio while driving. Like a song, the book needs a build-up to a chorus, the bridge comes in, and then the question of how the melody fades out at the end. It was very fun to work on. Before publishing the book, I made an artist publication. Was very into learning about the different use of paper, printing, and binding.
While deciding on the layout, my good friend and art director, Merel Korteweg, suggested aligning the images on the bottom part of the page. This was such a simple but very smart idea. The project is all about sunlight. The blank space in the upper part of the page resembled the sky beaming in sunlight. Martina created the cover of the book. The PVC sleeve aligns with the concept of the project.
‘It is very helpful to print your own work and look at it, analyze it, and interpret associations that come up and what you are subconsciously drawn to.’
The Story
After completing your studies at the Photo Academy and participating in an artist residency in Berlin, you also worked as a first assistant to Paul Kooiker. What is the key takeaway from this experience that you carry into your own practice?
When starting photography, I was 28 years old. At the time, I worked in advertising but felt so drawn to photography that I decided to quit my job and start studying at The Photo Academy. It taught me a lot about technique, but after two years, I felt I needed a different kind of input to continue learning. In Berlin, I created a lot of work and realized that I learn best by doing. Assisting felt like the natural next step. Working with Paul has been such a great experience. Mainly it's a lot of fun. Creativity can be so abstract, but the way he talks about it just makes sense to me. For example, it is very helpful to print your own work and look at it, analyze it, and interpret associations that come up and what you are subconsciously drawn to. He also has an incredible collection of books, so there's always something new to see and be inspired by.
