Photo from 4-screen synched video installation "I am writing this with my left hand although I am strongly right-handed". Photo: Christopher Steadman
Christopher Steadman was born in England and received his MFA from Central St. Martin’s in London and a MA in Photography from New York University and the International Centre of Photography in New York City. He works in a range of genres including video, sound, photography, text and installation. In his recent projects Christopher has been studying the articulation of memory as a mutating system functioning within a set of larger cultural and environmental systems. Developing this subject the artist continues to work with time and space by the configuration of his installations which surround the individual. Creating a specific environment in the gallery with the material being looped on synchronized screens Christopher explores ongoing interests around isolation and the alienated existence. Christopher aims to make video installations which are challenging and spontaneous. Through years of developing his practice, he has found his own approach to the study of these subjects, such as the individual’s psyche in reaction to their own intimate condition. Currently he is intensively working among three of the most creative cities in the world: Berlin, London, New York…
Installation view. Christopher Steadman: "Autobahn" (4 projections synched, 8 synched audio tracks, 14 mins. looped) Photo: Christopher Steadman
You worked with interesting topics/subjects/issues, could you tell us more?
And what are you current ones? Domestic space, the people inside the space, the things with which they surround themselves, and the nature of a solitary being often feature as themes in my work. The social and environmental constructs suggest a place of safety or alienation, opposites or dualities to communicate succinctly the tension of isolation and heighten a sense of confusion. Viewers are forced to isolate themselves similarly, simulataneously entering the experience denoted by the configuration of multiple monitors, denied any sense of connection or closure; this further demonstrates the installation’s ability for creating tensive, meditative environments of subtle, yet evocative power. Referencing my practice as a whole, my current work is a technical and conceptual development of a previous work entitled “Table for One” where multiple monitors were used, depicting characters apparently connected by a dinner party experience. They are in fact trapped in their isolated space, boxed into their own monitors, intermittingly connected at narrative points and by the dinner table as a prop, viewers are left to navigate the layers and language of the work. One empty seat at the end of the table invites a viewer to interact with the piece and sit with the dining guests. The addition of further elements, objects and reflections, has pushed the boundaries of personal and technical challenges, while continuing development of recurrent conceptual themes around fragmented narrative, memory, loss and abstraction. The impact of realising new projects serves as a shift on the focus on video and installation in my practice but also on the wider field that looks to new practice for new ideas and new ways of making meaning. By displacing myself from the fixed art studio scenario over a 5 year period where I had no home and moved between international residencies I furthered my potential by exploring other, shifting contexts and environments in which to work and develop my subject matter, whilst maintaining production of work in parallel with present experience. The experience of living a transient existence and meeting artists and writers, ranging from ages 25 to 83 and from emerging to established careers, benefited and influenced the path I’d already undertaken and the outcomes produced. My thoughts on art practice and on my own practice advanced significantly by remaining open to possibilities and shifting perspectives, and through interaction with others in dynamic environments. Presently, I am interested in the transient anonymous individual who is always moving and thus also isolated and never really connecting to the world, a place, or a person. Lots of passing landscapes and strangers that are gone in a fragment of time. The pieces I am working on at the moment have a similar stylistic approach to the subject matter as they mesmerize the viewer with imagery that is sometimes blurred, fragmented, or abstract. The works explore the metamorphosis brought about by neurological chance, but metamorphosis into alternative states of being, no less human for being so different as the viewpoint is interrupted by other viewers moving around the installation.
Photo from the 4-monitor totemic elevator video installation "The Only Way Down is Down". Photo: Christopher Steadman
You use challenging techniques like in-camera editing being locked for 48h in the room, could you share more?
The thing that keeps me excited about making art is challenging myself, whether technically or personally, to do things that don’t necessarily appeal or feel comfortable. When I performed in the work made during a 48 hour studio lock-in, it became about the brain-tease of how to set up lights, sets, tripod and camera while I got in character in front of the lens. For these pieces, I planned the shoot meticulously writing a detailed list from when to change costume to where the spotlight should be moved. I could switch off myself as cameraman, follow the instructions technically and allow myself to focus on performing. I approached the work I made during studio-lock-in’s very differently to the work I now produce. In the past, I knew what the piece would look like before I made it. I no longer shoot in the studio, or have a plan before filming. I might find a location that fascinates me. Spend a few days filming on location. The piece starts to take shape only when I sit down to edit.
Tell us about sounds and objects you work with?
The sounds I use are all recorded at the time of shooting. Some times I create the soundscape before the video. The sound for all my work, especially the more recent pieces, is as important as the visuals. Mostly they work in harmony. As far as objects, I don’t think there is anything I wouldn’t use in a piece as long as it makes sense in context. I’ve used a cup of tea, rubber gloves, an elevator… When I shoot on location it becomes as much about the setting as it does about any subject material or theme.
With the success like yours – being exhibited in multiple cities and working as an artist in residence for 5 years receiving a grant what is your goal now?
To continue working. To ideally make other people stop and think for a while. I make work because I can communicate a feeling or an idea that I wouldn’t be able to put into words. To create something in the world to describe something of what its like to be in the world and share that something for someone else to view. There is an intention when an artist makes art. An internal dialogue that forms a relationship between art and artist. But when completed, the art stands alone and stimulates a viewer to have a response and in doing so creates a new relationship between the viewer and the art.
Still image from 9 projects screens from the installation "Table for one". Photo: Christopher Steadman
Tell us about the most difficult project you have ever had to do?
Many of the multiple-channel pieces have brought up difficult challenges that seemed unsurmountable at the time. But the most difficult was probably the ‘Table for One’ piece which I mentioned earlier, where I invited 10 guests to a dinner party, one being the viewer. 9 guests were filmed alone with no idea who else would be at the dinner party. I gave them some scripted lines, but most of the filming was improvised. I filmed each guest over a couple of hours and usually with a couple of bottles of wine. This was my first experience directing other people to perform. Difficult in itself. The editing and synching was a huge challenge, but the worse part was 5 minutes before the opening of the exhibition, one of the technicians decided the DVD players weren’t safe and started securing them to the stands at the bottom of the 1 metre high chrome poles supporting the heavy old large monitors. He knocked one over and like a domino effect it knocked over the next one and then the next and the next. Suddenly I had 5 broken monitors and visitors already entering the gallery. Luckily the gallery had one extra, but I still had to pull out 4 monitors (characters) of a 9 monitor synchronised installation for the opening night. It was all sorted out the next day. But disappointing for the 4 guests who came to the opening feeling like they were the stars of the show only to find they weren’t in it.
Photo from 3 channel video installation "Micro Chaos". Photo: Christopher Steadman
What stimulates/inspires you for work?
Often words, or related words, a line of narrative or a title can be stimulating, and any sort of limitation is inspiring.
How did your work change within years? Which way are you going now?
The biggest change was removing myself as performer and distancing artist from art allowing the work to be more universal and less personal. Although I think I’m about to return to getting back in front of the camera. Hopefully I can find a balance. I’m also working with landscape and stills, fragmented moments of sequential time. The pieces have been presented as inidividual images but I’m now compiling the stills into a video.
How did you know about ARTCONNECT BERLIN?
A designer friend forwarded me a link to your site. In a city like Berlin, which has attracted so many creative people all of whom work essentially for and by themselves, it seems like a great platform to bring these people together, and in so doing allow dialogues to develop and new projects to begin.
We are also happy to announce that Christopher Steadman has just been selected to be in a show curated by Gary Hill (one of the pioneers of Video Art) at Seattle’s Center on Contemporary Art. Our congratulations and best wishes for your future projects.
Connect with Christopher for further questions on ARTCONNECT BERLIN: http://www.artconnectberlin.com/christophersteadman
His full successful career can be viewed here: http://christophersteadman.com/
Photo from 3-channel video loops installation "Micro chaos". Photo: Christopher Steadman
Installation view of Christopher Steadman: "Autobahn" (4 projections synched, 8 synched audio tracks (detail of installation). Photo: Christopher Steadman
Photo from 4-screen synched video installation "I am writing this with my left hand although I am strongly right-handed". Photo: Christopher Steadman
