Van de Voorde’s pictures exhibit a surreal space. The world is almost deserted and its inhabitants stray far from the camera’s lens. His work is a conversation between himself and the place he lives in Canberra, Australia. Place speaks to Van de Voorde like a muse as his images capture what lies ahead in a scene. Van de Voorde’s work challenges the notion of what a landscape is by the inclusion of familiar relics from the modern era: barrels, picnic tables, skeletal remnants of automobiles are seen anew in front of his camera. What the viewer gets a sense of is the feeling of discovery through the distant view of things that envelop the eye and reach within the psyché. There’s an uncanny feeling that something’s happened; it’s what Van de Voorde doesn’t show us over that hill or behind that building that hold our interest.
What lies in those details in an immense understanding of a bucolic irony in a social landscape. It doesn’t matter if I get what Van de Voorde’s part of Australia is about; it’s how his meaningful surveys convey a mood and what that mood might mean to a viewer. I can still make out lines of cars in the junkyard, past a parking lot with a light on, it’s not the smoldering embers of a fire, no; it’s something lighter. A fog rolls in to view as a feeling of quiet falls.
This is an outtake of the article Aaron wrote for the excellent WHAT-HYPE (UK) magazine.
Aaron is a photographer living and working in North Carolina. His work focuses on personal views of the rural and small town life in the American South. He co-founded the publishing group Empty Stretch, based out of Washington, D.C.
Thanks Aaron and Will.