I made these photographs between 2008 and 2010 in the farmlands of the Saanich Peninsula on Vancouver Island. Farming is often viewed through the lens of nostalgia and romanticized as a lost way of life that was more connected to nature. The farm fields were a fruitful way for me to situate the human in nature because it is within this interface that questions arise regarding our place in the natural world. Farmland is an exotic territory for most of us, despite the fundamental nature of farming as a precondition of our culture. As much as the idea of wilderness implies no human presence, these anthropogenic landscapes are reminders of our inescapable and constant interaction with the natural world. What first attracted me to this landscape was the quality of deep open space enclosed by distant hills. This dimension, combined with the linear traces of farming and boundaries, form the visual framework which supports this series. The word Geometry is derived from ancient Greek meaning ‘to measure the earth’ and the earliest application of geometry was to partition land. My point of view with the field pictures was topographical. Like a map, these photographs are a precise representation of surface and are both a record and an abstraction.
urbanautica.com (interview)
I made these photographs between 2008 and 2010 in the farmlands of the Saanich Peninsula on Vancouver Island. Farming is often viewed through the lens of nostalgia and romanticized as a lost way of life that was more connected to nature. The farm fields were a fruitful way for me to situate the human in nature because it is within this interface that questions arise regarding our place in the natural world. Farmland is an exotic territory for most of us, despite the fundamental nature of farming as a precondition of our culture. As much as the idea of wilderness implies no human presence, these anthropogenic landscapes are reminders of our inescapable and constant interaction with the natural world. What first attracted me to this landscape was the quality of deep open space enclosed by distant hills. This dimension, combined with the linear traces of farming and boundaries, form the visual framework which supports this series. The word Geometry is derived from ancient Greek meaning ‘to measure the earth’ and the earliest application of geometry was to partition land. My point of view with the field pictures was topographical. Like a map, these photographs are a precise representation of surface and are both a record and an abstraction.
urbanautica.com (interview)
Hi! I am Steve, a professional in the field of photography and visual arts, with a background as a curator, art director, and educator.
I’m a “mestizo,” as they say—Venetian on my father’s side, with a French surname that dates back to Napoleon’s campaigns, and a soldier from around Montpellier. My mother was born in Belgium to a Dutch family. My grandfather from Hoboken, New Jersey, on the Hudson River. I grew up a bit here and there; I currently live in Paris.
I have known the world before smartphones, computers, and the internet. Before low-cost flights. The backseat of my father's car was my window. Studies pushed me to embrace complexity, a quite observation. A gaze that "touches," that dares in some way, that strives to forge a connection.
I spent the past 20 years questioning the role of images in society.
• Coaching and Portfolio Review
Go to Coaching and Portfolio Review page
Steve Bisson has also been giving lectures, mentoring, and collaborating with cultural and educational institutions worldwide such as: Lasalle College of Arts (Singapore) | Novia University, Master of Culture and Arts, Entrepreneurship in the Arts, and Photography (Finland) | FotoDepartment (Russia) | Museum of Contemporary Art of Vojvodina (Serbia) | FAAP – Fundação Armando Alvares Penteado (Brazil) | Fondazione Benetton Studi e Ricerche (Italy) and multiple other academies and institutions.
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Design by Roberto Vito D'Amico
Hi! I am Steve, a professional in the field of photography and visual arts, with a background as a curator, art director, and educator.
I’m a “mestizo,” as they say—Venetian on my father’s side, with a French surname that dates back to Napoleon’s campaigns, and a soldier from around Montpellier. My mother was born in Belgium to a Dutch family. My grandfather from Hoboken, New Jersey, on the Hudson River. I grew up a bit here and there; I currently live in Paris.
I have known the world before smartphones, computers, and the internet. Before low-cost flights. The backseat of my father's car was my window. Studies pushed me to embrace complexity, a quite observation. A gaze that "touches," that dares in some way, that strives to forge a connection.
I spent the past 20 years questioning the role of images in society.
• Coaching and Portfolio Review
Go to Coaching and Portfolio Review page
Steve Bisson has also been giving lectures, mentoring, and collaborating with cultural and educational institutions worldwide such as: Lasalle College of Arts (Singapore) | Novia University, Master of Culture and Arts, Entrepreneurship in the Arts, and Photography (Finland) | FotoDepartment (Russia) | Museum of Contemporary Art of Vojvodina (Serbia) | FAAP – Fundação Armando Alvares Penteado (Brazil) | Fondazione Benetton Studi e Ricerche (Italy) and multiple other academies and institutions.
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Design by Roberto Vito D'Amico