Arts Council of Wales | Stefhan Caddick
Stefhan Caddick

Stefhan Caddick

Visual Arts

Stefhan CaddickStefhan Caddick works from his studio near Abergavenny and teaches on the Creative Sound and Music course at University of Wales, Newport.

He works in video, installation and performance and often presents his work as a one-off event, usually outside and frequently after dark. Many works are constructed with materials sourced from institutions, communities and individuals, an inherently collaborative process which challenges the idea of the artist as sole creator.

Recent projects include Pickle Line for Outcasting Fourth Wall Film Festival, Ghost Parade for Adain Avion, part of the London 2012 Festival and The Nihilists, a night-time event on a mountain near Abergavenny.


Gulliver

Stefhan Caddick - Gulliver Evidence 2The idea for Gulliver originates in a piece of film footage from the Ebbw Vale Steelworks archive, from around 1918 – a cable car pours coke into a blast furnace, a man pulls a wall of red hot coke out of the furnace before dousing it in water.

Although the location where the film is shot is recognisable, what it depicts is alien, with more in common with the fantastical fiction of Melies’ 1902 film 'Voyage dans La Lune'. It is this sense of the ‘familiar yet strange’ in the archival moving image, and its possibilities as material for new, contemporary work which Stefhan intends to investigate.

The proposed activities would include:

  • Archival research - an exploration of the archives of national institutions such as the British Film Insitute, Imperial War Museum and British Steel and the opening of a dialogue with these institutions with a view to new projects and collaboration.
  • Electronic delivery - an investigation into the potential for systems such as Cycling 74’s Max and Jitter to create complex, multichannel immersive environments.
  • Sculptural forms – research into and development of the possibilities of the screen as sculpture.
  • Professional Development - further development of conversations with UK and international curators and an investigation of potential new platforms for Stefhan’s work.

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