Another 100 Colorado Creatives: Chris Coleman
Editor's note: As our first 100 Colorado Creatives series came to a close on the eve of Westword's Artopia last month, it became painfully obvious that our work was far from finished. We feel lucky to live and work in a place where the number of creative people is ever-growing, raising the bar of the arts every single day, year after year. And so we're picking up right where we left off to present Another 100 Colorado Creatives.
A still from Chris Coleman's "METRO."
#100: Chris Coleman
University of Denver professor Chris Coleman not only teaches the ropes of the digital arts -- motion-based and otherwise -- he's also making those ropes. In the art world, this is the frontier, and Coleman traverses it in a covered wagon of technology, gaining worldwide notice for his installations, inventions and video work. At the start of what's turning out to be busy spring for Coleman, we invited him to kick off the new 100CC series with insights into his brave new world.
See also: 100 Colorado Creatives: Christina Battle
Westword: If you could collaborate with anyone in history, who would it be, and why?
Chris Coleman: Bjork. In her music, visuals, instrumentation and interactions, she truly stands out as a visionary. I choose her over many of my "art-heroes" because I really believe it could be a collaboration, one where we could push one another and make something neither of us could make alone. The flexibility with which she is able to perceive the world and how she has chosen different partners to express that vision over the last twenty years is terribly inspiring.
Who in the world is interesting to you right now, and why?
Trevor Paglen. His work is a beautiful combination of research, activism, and photography. He dives into the bureaucratic processes that even the most secret of parts of our government must deal with and uses them to uncover those things that attempt to remain hidden, allowing him to expose rendition flights, NSA data sites and hidden cellular scanners on U.S. embassies abroad. I deeply appreciate the way he intelligently communicates the spaces between secrecy and transparency with his artwork.
What's one art trend you want to see die this year?
Paintings and prints that are supposed to look like bad 'net art of the early 2000s. Perhaps it is because I lived through that art during the first go-around, but the re-representation of it seems vacuous to me.
Continue reading for more from Chris Coleman.