Situated in high-country New South Wales, Cabramurra is Australia's highest populated township. Constructed in 1954 by the Snowy Mountains Hydro-Electric Authority as the northern administrative base for the scheme, Cabramurra is now home to a small community who work primarily for the company.
Photographed in 2009 as part of Cameron Clarke’s gradute folio at the Royal Melbourne Institute of Technology this series
of work provides a survey of the township of Cabramurra during the winter months and explores the somewhat utilitarian
structures that provide the homes and services to this remote Australian community.
Airstrip, Cabramurra, New South Wales 2009
Dry Lake, Cabramurra, New South Wales 2009
Switch Yard, Cabramurra, New South Wales 2009
Houses, Cabramurra, New South Wales 2009
General Store, Cabramurra, New South Wales 2009
Service Station, Cabramurra, New South Wales 2009
Swing Set, Cabramurra, New South Wales 2009
Cricket Nets, Cabramurra, New South Wales 2009
Tennis Club, Cabramurra, New South Wales 2009
23 Talara Street, Cabramurra, New South Wales 2009
Tennis Court, Cabramurra, New South Wales 2009
Picnic Shelter, Cabramurra, New South Wales 2009
Cloud Seeding Station, Cabramurra, New South Wales 2009
Water Tank, Cabramurra, New South Wales 2009
Communications Tower, Cabramurra, New South Wales 2009
Heli-Pad, Cabramurra, New South Wales 2009
Takings of Place
Takings of Place is the first solo exhibition for
Melbourne based photographer Cameron Clarke. Drawing much inspiration from the
photography emanating from Germany during the 1970’s and 80’s, in particular
infamous Kunstakademie, Clarke’s large scale photographs document the German
and Scandinavian landscape.
Clarke looks at occurrences within the landscape, that in today’s fast paced
society can often be dismissed or not observed at all. Oddities and novelties
of the everyday; a lonely van abandoned at the edge of a forest, beach chairs
huddled together on the foreshore encompassed in fog, sheep happily grazing at
the edge of a major city.
Clarke’s use of large format photography in creating this body of work, a
medium which impresses a very considered and formal approach on the
photographer, complements his subject matter and is a process which enables the
initial discovery of these, Takings of
Takings of Place was produced in the European Autumn of 2010.
Saskia, Trondheim, Norway 2010
14 Tucholsky Straße, Berlin 2010
David, Stockholm 2010
Granåsen Ski Jump, Trondheim, Norway 2010
Bathing Pool, Monbijou Park, Berlin 2010
Football Pitch, Monjibou Park, Berlin 2010
Forest, Beuthenfall, Saxony, Germany 2010
Morten, Junsvannet, Trondheim, Norway 2010
Sheep Grazing, Düsseldorf, Germany 2010
All Cops Are Bastards, Düsseldorf 2010
Professor Ferdinand Braun Prominade, Cuxhaven, Germany 2010
Eucalypts is an ongoing series exploring the Australian landscape and is inspired very much so by Australian landscape painters from the late 19th century, in particular Frederick McCubbin.
Eucalypts #1 - Tourour, Victoria 2009
Eucalypts #2 - Toorour, Victoria 2009
Eucalypts #3 - Toorour Victoria 2009
Where Waters Meet
The end of the Second World War
was a time of profound change
throughout the world. For Australia in particular the period
proceeding would define the nation ina most fundamental way. A shift in the
nation’s immigration policy would result
in the most significant influx of people into
Australia since the beginning of European
settlement more than 150 years prior.
The post-war Australian government,
led by Prime Minister Ben Chifley,
recognised that the nation was in dire
need of an increased population for the
purpose of strengthening defence and
greater economic growth. Australia’s
population of 7 million in 1945 would
rapidly increase in the coming years,
so much so that by the early 1970’s, the population had grown to nearly
A fundamental instrument in achieving
the above levels of population increase was
the implementation of government policy
that made it possible for people to migrate
to Australia. To facilitate the arrival of such high numbers of immigrants,
the Australian government made travel
agreements with other countries and
One significant agreement was with the
International Refugee Organisation, which
made it possible for displaced persons
from refugee camps throughout Europe to
be granted assisted passage to Australia
during the late 1940’s and early 1950’s.
Formal agreements with several European
countries also made assisted passage to
Australia accessible to many, including
Dutch, German and Italian migrants.
In order to accommodate the arrival of such large volumes of people into
Australia, several facilities were required
to receive immigrants. One such facility
was the Bonegilla Migrant Reception and
Training Centre located in North-Eastern
Victoria. A former Australian Military
Base, it was repurposed to receive and
train newly arrived migrants.
Opening in 1947 Bonegilla operated in this capacity until 1971. During this
period more than 300, 000 migrants
passed through Bonegilla from which it
is estimated that more than 1.5 million
Australian’s are descended.
The traditional Aboriginal owners of the land surrounding the area chosen to
establish Australia’s largest immigration
reception facility of the time, referred to
the area in their traditional language as
‘Bonegilla, which when translated
means ‘Where Waters Meet’; a
reference to where the Mitta Mitta
River joins the Murray River.’
Situated on the banks of Lake Hume, the
Bonegilla Migrant Reception and Training
Centre would indeed become an important
meeting place. A place where people from foreign shores would journey to,
from shipping ports throughout Europe
and across vast oceans, Bonegilla
would represent their destination, but only the very beginning of their
new life as Australian’s.
The following landscape and portrait
photographs, along with accompanying
anecdotal interviews, explore the
nation-defining journey of the Bonegilla
Wangaratta Rail Station, Wangaratta, Australia 2009
Rail Track, Seymour, Australia 2009
Alex Podolinsky, 2011
Block 19, Bonegilla, Australia 2009
Bonegilla Immigration Reception Facility, Australia 2009
405 Miles to Chesapeake Bay
From its secluded and humble beginnings in the mountains of West Virginia, the Potomac River
meanders east on its journey to the Atlantic Coast. Coursing through steep ravines and over rock-strewn
river beds in its upper reaches, the initially humble appearance of the river gradually increases in its
expanse as it flows on and on, down the Potomac Valley.
Providing the conduit for a great variety of communities along its path, the Potomac slowly builds in its
presence on the American landscape, collecting the waters of smaller tributaries, providing the life
source for the economic activities that have flourished for generations.
Coal miners, lumber workers, fishermen, farmers and hunters in the river’s western watershed are
connected to politicians, lawmakers and larger industry in its eastern expanse by the Potomac as it
carves its path farther and farther east, through the nations capital, on it’s 405 mile journey to
The following photographic essay, produced in the late fall of 2012, uses the Potomac River as a
reference point, a common thread, for the portrait and landscape images within.
States Park Ranger, Potomac River, Harpers Ferry, West Virginia 2012
Mineral County, West Virginia 2012
Potomac River, Kempton Road, Maryland 2012
Pleasant, Washington D.C. 2012
New Page Paper Mill, Luke, West Virginia 2012
Roger, Potomac River, Cumberland, Maryland 2012
Falls, Potomac River, Maryland 2012
& Henry, Diner, Hancock, Maryland 2012
Baptist Temple, Keyser, West Virginia 2012
Trail, Alexandria, Virginia 2012
(Portrayed by actor), Mt. Vernon Estate, Virginia 2012
(Portrayed by actor), Personal servant to George Washington, Mt. Vernon
Estate, Virginia 2012
Gun Shop, Claysville, Mineral County, West Virginia 2012
Station, Keyser, West Virginia 2012
Brian, Mt. Pleasant, Washington, D.C. 2012
Lookout, Maryland 2012
Ron Garrison, Yard Sale, Great Cacapon,
West Virginia 2012
River, Hancock, Maryland 2012
County Bus Depot, Keyser, West Virginia 2012
Rooftop, Georgia Ave. NW, Washington D.C. 2012
Roy Jefferys & Nelson Dolly, Cumberland, Maryland 2012
Chesapeake Bay, Point Lookout, Maryland 2012
The Sievers Project
In 2013 I was commissioned along with 5 other artists, working in photography through to installation, to respond to renowned Australian photographer Wolfgang Sievers (1913–2007), icon of 20th century Australian photography.
"Wolfgang Sievers’ portraits of workers and industry resonate with me, as my own documentary practice explores the connections between people, their environment and their history. The Sievers Project has provided me with the opportunity to revisit some of the sites where Wolfgang Sievers created his iconic imagery, and to explore the changed relationship between Australian workers and their machines. I have found this opportunity to be most engaging and, given the current climate and upheaval in the Australian manufacturing industry, particularly poignant.
It is an interesting and challenging time for many businesses operating in the field of manufacturing. In my research and development of work for this project I have had access to several manufacturing businesses in the midst of immense change and adaptation to local and global economic forces.
The imagery I have created for this project echo’s Sievers work in its documentation of industry. It is however a departure from Sievers’ work, in that the ‘worker’ and machine are treated as completely separate. The worker in my view is still vital to the operation of manufacturing industries, however the role of the worker has drastically changed over the past 30-40 years since Sievers created his striking imagery. In the present day of more automated processes, higher input cost demands and a truly global economy and marketplace, manufacturing industries in Australia have needed to adapt. This adaptation has in some respects led to the diminished role of people in manufacturing workplaces, and moreover and unfortunately, to many of the industries for which Wolfgang Sievers produced work, closing their doors.
In the imagery I have created for this project, at Bruck Textiles in Wangaratta and The Ford Motor Company in Geelong, I have presented the worker and the machine separately. For me this reflects upon the change in relationship between the two, which has occurred in the decades since Sievers worked for these companies. The ‘dignity’ of the worker was fundamental to Sievers’ approach and his imagery of people intricately involved with the machine demonstrates this. I too believe in the dignity of people and the work they do and it is for this reason I have given equal standing in terms of style, composition and scale to the people and machinery in my photographs for The Sievers Project."
West Point Warper, Bruck Textiles, Wangaratta 2014
Toni Ryan & Garry Sanders, Warping Operators, Bruck Textiles, Wangaratta 2014
Küsters Washer, Bruck Textiles, Wangaratta 2014
John Taylor & Leslie Montgomery, Warping Operators, Bruck Textiles, Wangaratta 2014
Gauge Area ( Ford Territory Right Hand Rear Quarter Panel) Geelong Stamping Plant, Ford Motor Company 2014
Ljube (Louie) Nedeski & Ilo Najdanovski, Production Operators, Production Weld, Ford Motor Company, Geelong 2014
Gauge Area ( Ford Falcon Right Hand Front Fender) Geelong Stamping Plant, Ford Motor Company 2014
Gina Kavvadas (Clerk) & Kevin Mullan (Fitter & Turner), Geelong Stamping Plant, Ford Motor Company 2014
Shipping Bay (Ford i6 Engine), Geelong Engine Plant, Ford Motor Company 2014
In August 2014 I collaborated with the wonderfully talented Kate Stanton on a story exploring the lives of long-term and permanent residents of Victorian caravan parks. Kate's article is available to read here.
Former truckies' boss John Wettenhall in his cabin at Highlands, Seymour, where he is one of just three permanent residents.
Inside John Wettenhall's cabin at Highlands, Seymour.
Inside John Wettenhall's cabin at Highlands, Seymour.
Side-by-side: cabins in Highlands Caravan Park, Seymour.
Julie Henwood's converted caravan at Highlands is well-earthed: wrapped in garden, it's not going anywhere soon.
Home, sweet home: Julie Henwood in her van at Highlands. "Even if I won lotto, I wouldn’t want to move from here."
Inside Julie Henwood's converted van at Highlands, Seymour.
Inside Julie Henwood's converted van at Highlands, Seymour.
Trinkets decorate Julie Henwood's living room in her converted van.
The front office at Highlands, Seymour, where three permanents reside alongside tourists and contractors working at nearby Puckapunyal.
Highlands Caravan Park manager Ray Jones in his living room on-site.
Open plan: plenty of room at Strayleaves Caravan Park, Shepparton.
Strayleaves Caravan Park, near Shepparton, where seniors are particularly welcome. “They’re the best if you can get them. The grey nomads,” says manager Debbie McKenzie.
Lance Pilgrim's cabin at Shepparton's Strayleaves Caravan Park.
Ray Collinson and Lance Pilgrim stand in front of the former's caravan and annexe at Strayleaves, near Shepparton.
Ray Collinson's home in Strayleaves Caravan Park, near Shepparton.