Christopher Keller
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Contact Information*:
Houston Texas USA |
Contact Type: Artist |
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Bio:
Filmography/Awards Info: This Contact appears in this database if Microcinema International has screened a film directed by the Contact, a film directed by the contact is featured in a DVD distributed by the Blackchair Collection Shop, or featured an organization or activity linked with the Contact. This database is used for commercial as well as informational, non-commercial purposes. It is a historical archive of Microcinema International's activities. Inclusion in this database and archive in no way implies a continuing formal relationship or affiliation with Microcinema International or the Blackchair Label nor an endorsement of its activities by the Contact. Contact details are not displayed in order to protect privacy. If you wish to contact this artist please see their website as listed above or write Microcinema International and we will be happy to forward your e-mail.
Microcinema Interview/Article:
Interviewed by Patrick Kwiatkowski, April 2003 >1. Why did you select this style of filmmaking when you set out to make >your art? What are the boundaries between multi and single channel video >presentations? Since I was a child, I have had a fascination with light patterns and texture; when I received my first video camera, it was only natural for me to record what I was looking at. Images are bounded only by whatever limits the viewers set for themselves. I feel that no matter how it is presented, whether in a short screening or ongoing installation, the images are perceived in separate ways and for different lengths of time, regardless of how long or where the presentation is. > >2. Try to help us understand why or how you feel your work is unique >from other moving image artists? My work is unique only in the sense that I look at things differently, and I'm doing my best to show others what I'm seeing. Hopefully they find these things as interesting as I do. > >3. How important is telling a story in your works? Please explain as >much as possible. I don't try to tell a story with my images, I only try to relay a succession of emotions and vibrations. Whatever stories viewers perceive, they are welcome to them, and I would be more than happy to hear them. > >5. How do your installations relate to your own life and experiences? They relate to my perceptions of the world around me. As I grow more proficient at comprehending my perceptions, so do I grow more proficient at relaying them to others. > >6. Who would you want to see your films at a special screening if you >had the choice of all living and dead? Why? Mainly family and friends, because I wouldn't have come this far without their help, love, and support. > >7. Do you use a special process to make your art? Nothing special, I merely keep my eyes open. I look for the most interesting sights, videotape them with my camera, and edit them on my computer. > >8. How do you integrate music into your work? How important is this >process. Music is a very important part of my work; it acts as a catalyst for the emotional reaction one receives from the images. I look for music that pairs well with the imagery and apply it. > >9. How do you see your work evolving? I've noticed that over the years I have moved into simplifying the images. When I first began, the work involved a lot of color and motion. Lately I have been working more with luma and chroma keying in order to focus on the specific parts of the image that I want seen and provide more contrast. I have always used motion effects as well to change the speeds of the images, but I have become more proficient at this technique, and more selective on when and where it should happen. > >10. Is there anything else that you would like to tell us? Only that I thank you for having an interest in my work. Stay tuned, the best is yet to come. |
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