Artist Lecture: Christopher Coleman

I recently attended the artist lecture by Christopher Coleman, who is an animation teacher at the University of Oregon. He presented on four projects, three of which I will discuss here.

The first project was a video installation titled “Collusion,” which depicted smokestacks expelling and consuming pollution to the soundtrack of realistic human respiration. It was installed as a full wall projection in a gallery with “surround sound” so that the visual image of the “inhaling, exhaling” smokestacks and the sound of breathing immerses and overwhelms the spectator. According to Coleman, the intention of this project was to play with “notions of hope”-- and, in effect, dispersing hope by portraying a never-ending deluge of pollution into the air followed by the re-consumption of it. He mentions that one can’t breathe exactly with the piece because the smokestacks “breathe in” more than they “breathe out,” and human respiration does not function with this ratio. In this way Coleman is remarking that one can’t consume more than one wastes. Coleman begs the question: What if smokestacks sucked in pollution instead of emitted it? He also uses immersion to remind the spectator that he/she is the secret collaborator in the process of pollution. I enjoyed the way Coleman juxtaposed the cold, steel machinery with the organic, living sound of breathing.

Coleman’s second project was named “Spatiodynamic.” This work consists of an interactive machine that records and codifies the patterns of its spectators, then transmits this data to a grid of computer fans which receives and interprets the code into a pattern of wind. This wind then manipulates a sheet covering the fans, creating billows and ripples in the fabric. The image of these billows and ripples is recorded into a live feed that can be seen by the spectator on a small screen in the gallery. On screen, the manipulated sheet appears to be a moving landscape or ocean waves. The spectator is then able to walk around the corner to examine the machines that are creating the image he/she just witnessed on screen. The spectator can see that the image thought to be endless and organic is actually contrived and mechanical. What’s even more interesting is that the spectator IS the material, the conduit for this art piece! The spectator is translated in a unique landscape. I find that to be a very exciting viewing experience.

The third project of Christopher Coleman that I will discuss is an animation titled “Modern Times,” which was inspired by Charlie Chapman’s film of the same name. This piece deals with human relationships to information and terrorism. To create this animation, Coleman used characters from the online safety pamphlets on the government website www.ready.gov, which is a campaign about preparing the American public for terrorist attacks, in order to critique the government’s appropriation of fear and terror to advance patriotism and ideas of nationality. This work also deals with identity and the arbitrary lines that divide countries and other territories. He describes today’s “Modern Times” as being the age of information and misinformation, and this work shows his distrust in the governing system that pretends to enlighten the masses with “information” that really just keeps the population afraid and under control.

In conclusion, Coleman’s artist lecture proposed that we use art and other creative means to reassess our safety systems currently in place, question our management style and structure, understand our collective responsibility, and critically examine the dangerous implications of a “data body” that is codified, controlled, and managed by others, and that is arguably more valuable than our real, physical body. I found Coleman and his art to be very interesting and pertinent to real-world concerns. I like the way he uses art as a persuasive tool to agitate the viewer into critical thought and (hopefully) into action.