Cameron Clarke is an Australian based documentary photographer. Utilising large format landscape and portrait photography Clarke's work explores themes surrounding geography, history and the natural and man-made environment. Cameron's work is held in several private collections, including one of Australia's most significant collections of contemporary art, the Macquarie Group Collection.



Though Melbourne photographer Cameron Clarke wears his influences on his sleeve - the Dusseldorf School, for one - his debut solo show at C3 reveals a young artist with remarkable clarity of vision and mind. Shot in Germany and Scandinavia in the European autumn, his landscapes, portraits and architectural photographs find their resonance between poised, stunningly balanced compositional qualities and a kind of mute, lurking disquiet. There are all the classically western northern European signifiers: the dense forest scenes, the orderly modernist cityscapes, the cavalcades of deciduous colour and the towering feats of engineering. But what brings Clarke’s works to life is his ever-so-subtle reframing of his subjects. One of his chief tools is climactic. That he shoots a snowless Norwegian ski jump and an empty, cold, leaf covered Berlin bathing pool out of season affords them an intriguing, unsettling latency. He composes his works with a calm sense of balance and detail, leaving them open, untethered and stunningly undefined.
— Dan Rule, The Saturday Age, 04.06.2011
CAMERON Clarke’s photographs are clean and highly formalised, his portraits and landscapes echoing with historical and narrative clues. These craggy landscapes, broken-down railroads, industrial ports and incisive portraits are interconnected strands, tracing European immigrants’ journeys to Australia in the late 1940s and early 1950s and on to the Bonegilla Migrant Reception and Training Centre in north-eastern Victoria. Accompanied by brief interviews, these photographs work to reanimate the rusting, industrial scenes they depict. Fog-strewn German ports and parched Victorian landscapes become sites of great personal and cultural importance and passage.
— The Saturday Age, Your Weekend: In The Galleries, 15.09.2012







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