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The Invisible Landscape
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8 Responses to “The Invisible Landscape”
Aritra Roy
Hi Stephen,
Hope you are doing well. Let me introduce myself. My name is Aritra Roy and I’m the Chairperson of UCC Indian Society. Last year you took some amazing photographs for our Holi event and they were highlighted in the UCC societies monthly and annual magazine. We are organising the same event this year and we want you to be our official photograpber. The event is in 8th of March. Please let us know your availability and you email address so that we can officially contact you.
Thanks and have a nice day.
Very impressive works. Very archaic, minimalistic and beautifully composed. Not knowing anything before about your works here in Finland, these made me stop for a while. Your photos make on think and they would be very interesting to analyse deeper!
Thank you Päivi for your comments. Although we live in an ocularcentric world we are all prisoners in Plato’s cave, as perception is entirely a matter of experience.
I just want to express my feelings, emotions and associations about all project and especially about landscapes by making links between them and some works of my favorite artists and their viewpoints.
When I’m looking at landscape photographs I remember Louis Kahn’s (an American architect) vision of light and shadow and his words about it: “All materials in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to the Light.”
And Malevich’s words about ,,liberating non-objectivity” reminded me: “Silence, the unmeasurable desire to be, desire to express, the source of new need, meets Light, the measurable, giver of all presence, by will, by law, the measure of things already made, as a threshold which is inspiration, the sanctuary of art, the Treasure of Shadow.” – Louis Khan
The same sense, mood and even colors (in my imagination) we can meet in the novel ,,Autumn in Peking” by Boris Vian (French writer).
Not to say about my favorite Georgio de Chirico’s paintings, and so on, and so on…..
And of course I want to mention some similarities between Salvador Dali’s ,,The Persistence of Memory” and your photography (my favorite landscape).
And I think the persistence of memory is in ,,hidden depths within shadow emptiness”.
I’m sorry if I could not express my thoughts more clearly
It is interesting that you draw similarities between the Persistence of Memory and “a certain favorite landscape” I had not noticed that until you pointed it out. Yes the Shadow has a certain fluidity about it.
With the Early Light Project I set out to “discover appearances” and interestingly you quoted Malevich “liberating non-objectivity ” he goes on to say: ‘drew me forth into a “desert”, where nothing is real except feeling..”. Of course much of the work conceptualized in the Early Light Project requires a deep understanding of Light, (and of course Color and Shadows), and it is to the desert I often go to find it in its primal, early form. Hence the title of the project.
Thank you for expressing your thoughts thoughts so clearly.
S H Bean – Photographer. Cork. Ireland
My approach has been to create a sense of dislocation between the Shadow and the Landscape, between an object’s Shadow and the Space it inhabits. The Shadows in this new body of work should be seen as phenomena, albeit transient in their own right, as there is nothing consistent in the way we see Shadows, or the relationship of the Shadow to it’s environment. As Shadow length and shape will change over the day or time of year.
There is nothing consistent in the Shadow in relation to it’s density, as it’s darkness is predicated on a multitude of factors such as humidity, cloud cover and altitude, nor even to its colour. Not to mention light or shade from any nearby objects.
‘Only the painter is entitled to look at everything without being obliged to appraise what he sees’. Merleau-Ponty.
Within the confines of the Early light Project, conceptual landscape photography presents certain challenges.
The images contained in this portfolio reflect the ideas developed in the Early Light Project to Landscapes.
Examples of my work are available on my website https://shbeanphotographer.com/
but as is often the case with work of this magnitude, it has to be experienced in print form as the internet will never do it justice. —
S H Bean ~ Photographer 
8 Responses to “The Invisible Landscape”
Hi Stephen,
Hope you are doing well. Let me introduce myself. My name is Aritra Roy and I’m the Chairperson of UCC Indian Society. Last year you took some amazing photographs for our Holi event and they were highlighted in the UCC societies monthly and annual magazine. We are organising the same event this year and we want you to be our official photograpber. The event is in 8th of March. Please let us know your availability and you email address so that we can officially contact you.
Thanks and have a nice day.
Hello Aritra, sure my email is sbean@ucc.ie
Very impressive works. Very archaic, minimalistic and beautifully composed. Not knowing anything before about your works here in Finland, these made me stop for a while. Your photos make on think and they would be very interesting to analyse deeper!
Thank you Päivi for your comments. Although we live in an ocularcentric world we are all prisoners in Plato’s cave, as perception is entirely a matter of experience.
I just want to express my feelings, emotions and associations about all project and especially about landscapes by making links between them and some works of my favorite artists and their viewpoints.
When I’m looking at landscape photographs I remember Louis Kahn’s (an American architect) vision of light and shadow and his words about it: “All materials in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to the Light.”
And Malevich’s words about ,,liberating non-objectivity” reminded me: “Silence, the unmeasurable desire to be, desire to express, the source of new need, meets Light, the measurable, giver of all presence, by will, by law, the measure of things already made, as a threshold which is inspiration, the sanctuary of art, the Treasure of Shadow.” – Louis Khan
The same sense, mood and even colors (in my imagination) we can meet in the novel ,,Autumn in Peking” by Boris Vian (French writer).
Not to say about my favorite Georgio de Chirico’s paintings, and so on, and so on…..
And of course I want to mention some similarities between Salvador Dali’s ,,The Persistence of Memory” and your photography (my favorite landscape).
And I think the persistence of memory is in ,,hidden depths within shadow emptiness”.
I’m sorry if I could not express my thoughts more clearly
It is interesting that you draw similarities between the Persistence of Memory and “a certain favorite landscape” I had not noticed that until you pointed it out. Yes the Shadow has a certain fluidity about it.
With the Early Light Project I set out to “discover appearances” and interestingly you quoted Malevich “liberating non-objectivity ” he goes on to say: ‘drew me forth into a “desert”, where nothing is real except feeling..”. Of course much of the work conceptualized in the Early Light Project requires a deep understanding of Light, (and of course Color and Shadows), and it is to the desert I often go to find it in its primal, early form. Hence the title of the project.
Thank you for expressing your thoughts thoughts so clearly.
S H Bean – Photographer. Cork. Ireland
My approach has been to create a sense of dislocation between the Shadow and the Landscape, between an object’s Shadow and the Space it inhabits. The Shadows in this new body of work should be seen as phenomena, albeit transient in their own right, as there is nothing consistent in the way we see Shadows, or the relationship of the Shadow to it’s environment. As Shadow length and shape will change over the day or time of year.
There is nothing consistent in the Shadow in relation to it’s density, as it’s darkness is predicated on a multitude of factors such as humidity, cloud cover and altitude, nor even to its colour. Not to mention light or shade from any nearby objects.
‘Only the painter is entitled to look at everything without being obliged to appraise what he sees’. Merleau-Ponty.
Within the confines of the Early light Project, conceptual landscape photography presents certain challenges.
The images contained in this portfolio reflect the ideas developed in the Early Light Project to Landscapes.
Examples of my work are available on my website
https://shbeanphotographer.com/
but as is often the case with work of this magnitude, it has to be experienced in print form as the internet will never do it justice. —
Stephen Bean – Photographer. Cork, Ireland