W
hile chatting with Christian Michael Filardo, a poster of Kurt Cobain silently looms on the wall behind the artist’s shoulder. The poster prominently displays Cobain’s years of birth and death: symbols not only of the limited time Cobain had in this life, but also of Filardo’s artistic practice and ways of seeing the world. Over our conversation, topics of death, beauty, ephemerality, and permanence fade into one another, the distinctions blurring.
Filardo is a thoughtful, positive conversationalist, eager to engage with a curveball or tangent. Despite the content, the conversation is far from heavy. It is clear that they embrace the light alongside the darkness, making effort to maintain a balance in their work.
Filardo is an artist, but wavers when it comes to labeling. Balking at terms like "street photographer" or "lens-based artist," they feel more comfortable with the idea of their photography as a performance. The body moving from one place to another and enacting an action, the resulting photo negative serving as documentation of the performance. It's hard not to see the poetry in this line of thinking . . . did we mention that Filardo is a poet, too?
"I think that walking—or the idea of the pilgrimage to make the performance or discover the image—it's this obsession with the archive that has become an obsession with how I live my life. You know, it's every day: if I don't go outside and walk around during the day, the practice is suffering. It's this kind of thing. I didn't do any of the work."
This emphasis on movement is echoed in Filardo’s path through life so far. Born in Fort Worth, Texas, Filardo has called many places home: Barrington, Beijing, Manila, Phoenix, Sedona, Baltimore, Santa Fe, Richmond.They currently live in New York City.
When asked about the importance of place in their life and work, Filardo emphasizes how persistent movement is key to their act of creation: “Moving around is everything. I think my ideal situation would be to figure out how to fuckin’ have home based in New York and just not never be here,” they say with a laugh.
“I think because of the way I grew up and the subcultures or communities I found myself entrenched in, in a way, my place is my community, you know? And no matter where the location of my community is, I'm still in my community. I'm just changing a geographic context.”
![A portrait photo of a masculine person in a lush park.](https://varyer.imgix.net/Photo-of-me-by-Berkley-Kirsche.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1809&ixlib=php-3.3.1&q=82&usm=20&w=1200&s=422423f348809558d9d967e742fbcf9f 1200w, https://varyer.imgix.net/Photo-of-me-by-Berkley-Kirsche.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=3618&ixlib=php-3.3.1&q=61&usm=20&w=2400&s=a86d54fbe314e5a5f4d040d9cf366909 2400w, https://varyer.imgix.net/Photo-of-me-by-Berkley-Kirsche.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1495&ixlib=php-3.3.1&q=82&usm=20&w=992&s=8878cf1e2ffc94635c368db4e0f38ad2 992w, https://varyer.imgix.net/Photo-of-me-by-Berkley-Kirsche.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=2990&ixlib=php-3.3.1&q=61&usm=20&w=1984&s=e4d4d38befab9f5ec281c9648675b2fc 1984w, https://varyer.imgix.net/Photo-of-me-by-Berkley-Kirsche.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1157&ixlib=php-3.3.1&q=60&usm=20&w=768&s=dd8ae23dea8617496d0df5dd78bc3b60 768w, https://varyer.imgix.net/Photo-of-me-by-Berkley-Kirsche.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=2315&ixlib=php-3.3.1&q=45&usm=20&w=1536&s=5a4f1ba7879c41845ed0b9efbcf446d8 1536w, https://varyer.imgix.net/Photo-of-me-by-Berkley-Kirsche.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=868&ixlib=php-3.3.1&q=60&usm=20&w=576&s=ae1a2f585ecf2f3bb273d86b71403244 576w, https://varyer.imgix.net/Photo-of-me-by-Berkley-Kirsche.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1736&ixlib=php-3.3.1&q=45&usm=20&w=1152&s=57846d4aec3157d6704613b03c3c4010 1152w)
Photo by Berkley Kirsche.
That ever-changing movement plays a major role in Filardo’s work, but there’s an added layer of intentionality that creates Filardo’s uniquely vibe-y aesthetic: “I think, in a way, it's a very documentary style. But I'm trying to twist the fantasy a little bit,” they say.
If their artwork elicits a certain kind of feeling, their exhibitions amplify it, leaning further into the surreal and unusual aspects of their work. Filardo recounts how at all of their exhibitions, the mystery is amplified by shrouding the gallery space in fog. At a recent show, they introduced black lights to the gallery space. They talk about how these decisions are a way to not only reject the authority of the art world, but also to subvert what viewers of their work may expect. “I love to be the jester, you know? I'm like, ‘ha ha.’ I made all these beautiful things. And now, sorry, you're going to have to work.”
Discussing the presentation of their work, Filardo tells us about their exhibition in Minneapolis called The Backyard of Heaven. They describe a compelling scene: after death, a purgatory where no harm can befall you. Any decision, be it drugs or all-night rave or other form of hedonism, is free of risk—”nothing bad is going to happen.” For this presentation, Filardo created an aesthetic that they describe as “teenage rave club,” a la the indie sleaze resurgence.
“It's funny that the indie sleaze shit is becoming really relevant,” Filardo muses, “because for that show, I had etched the lyrics to ‘Anthems for a Seventeen Year-Old Girl’ into these peace stones that people have in their gardens. Those were on the ground.”
Park that car, drop that phone, sleep on the floor, dream about me. Park that car, drop that phone, sleep on the floor, dream about me.
![A framed photo of flowers rests at the base of a tree trunk.](https://varyer.imgix.net/000454220034_2022-06-22-204007_giaz.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1809&ixlib=php-3.3.1&q=82&usm=20&w=1200&s=d3b8e060759b4b3f08217c7fff1f2fb3 1200w, https://varyer.imgix.net/000454220034_2022-06-22-204007_giaz.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=3619&ixlib=php-3.3.1&q=61&usm=20&w=2400&s=b2b245fe09b92d7f48a396c94ea989d6 2400w, https://varyer.imgix.net/000454220034_2022-06-22-204007_giaz.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1496&ixlib=php-3.3.1&q=82&usm=20&w=992&s=3f3c5eac2f359dacbc3dc272ac196a8f 992w, https://varyer.imgix.net/000454220034_2022-06-22-204007_giaz.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=2992&ixlib=php-3.3.1&q=61&usm=20&w=1984&s=46324bfd28cd3f1eb23f151bad5bb2fc 1984w, https://varyer.imgix.net/000454220034_2022-06-22-204007_giaz.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1158&ixlib=php-3.3.1&q=60&usm=20&w=768&s=8ad6efd02b38cd5a240eab319fbcac94 768w, https://varyer.imgix.net/000454220034_2022-06-22-204007_giaz.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=2316&ixlib=php-3.3.1&q=45&usm=20&w=1536&s=2ca60a4b51e507ecce132d36b0e1aad1 1536w, https://varyer.imgix.net/000454220034_2022-06-22-204007_giaz.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=868&ixlib=php-3.3.1&q=60&usm=20&w=576&s=caa20a824b677d270dcc97b2efd76b97 576w, https://varyer.imgix.net/000454220034_2022-06-22-204007_giaz.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1737&ixlib=php-3.3.1&q=45&usm=20&w=1152&s=653bce8f1b41a1f97e1fae8d58998980 1152w)
![A display of various citrus resting on newspaper on the ground.](https://varyer.imgix.net/000854220019_2022-06-22-205052_zcew.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1808&ixlib=php-3.3.1&q=82&usm=20&w=1200&s=5ffb9e6c5f7d7efbc9b647633fc2ced7 1200w, https://varyer.imgix.net/000854220019_2022-06-22-205052_zcew.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=3617&ixlib=php-3.3.1&q=61&usm=20&w=2400&s=b7176beb8eadf11dcece85f7b414f299 2400w, https://varyer.imgix.net/000854220019_2022-06-22-205052_zcew.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1495&ixlib=php-3.3.1&q=82&usm=20&w=992&s=837c336cd6ed4a5c3e3f2efcac6cdffc 992w, https://varyer.imgix.net/000854220019_2022-06-22-205052_zcew.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=2990&ixlib=php-3.3.1&q=61&usm=20&w=1984&s=094d2fd06ede72a38b14ca8e8486b560 1984w, https://varyer.imgix.net/000854220019_2022-06-22-205052_zcew.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1157&ixlib=php-3.3.1&q=60&usm=20&w=768&s=ebc301b5d9a48e713f8f0a668b8d4815 768w, https://varyer.imgix.net/000854220019_2022-06-22-205052_zcew.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=2315&ixlib=php-3.3.1&q=45&usm=20&w=1536&s=f0155a3aeac441668f0088e627d20fb2 1536w, https://varyer.imgix.net/000854220019_2022-06-22-205052_zcew.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=868&ixlib=php-3.3.1&q=60&usm=20&w=576&s=f2dd4f1f83846e09862bf07a80720c05 576w, https://varyer.imgix.net/000854220019_2022-06-22-205052_zcew.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1736&ixlib=php-3.3.1&q=45&usm=20&w=1152&s=3b9c77116c65b0d68aed4d8dac83f50f 1152w)
![Dozens of red, white, and pink tulips.](https://varyer.imgix.net/000493630020_2022-06-22-205105_etpn.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1809&ixlib=php-3.3.1&q=82&usm=20&w=1200&s=9840ac801c03f46fbb57a79e4d8f6248 1200w, https://varyer.imgix.net/000493630020_2022-06-22-205105_etpn.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=3618&ixlib=php-3.3.1&q=61&usm=20&w=2400&s=f3079a73194c2308b6d55ef2540c83f6 2400w, https://varyer.imgix.net/000493630020_2022-06-22-205105_etpn.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1495&ixlib=php-3.3.1&q=82&usm=20&w=992&s=48c9b9c31a28ee32f418626915e82897 992w, https://varyer.imgix.net/000493630020_2022-06-22-205105_etpn.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=2991&ixlib=php-3.3.1&q=61&usm=20&w=1984&s=6d40570bb32e81ff389deb7da07e7364 1984w, https://varyer.imgix.net/000493630020_2022-06-22-205105_etpn.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1158&ixlib=php-3.3.1&q=60&usm=20&w=768&s=9db11c4a106822216e381f85b68590e8 768w, https://varyer.imgix.net/000493630020_2022-06-22-205105_etpn.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=2316&ixlib=php-3.3.1&q=45&usm=20&w=1536&s=fd4b297446054e8fb63e47a5d4567afa 1536w, https://varyer.imgix.net/000493630020_2022-06-22-205105_etpn.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=868&ixlib=php-3.3.1&q=60&usm=20&w=576&s=fc41cec70bac065b593b1b59253b15a8 576w, https://varyer.imgix.net/000493630020_2022-06-22-205105_etpn.jpg?auto=format&crop=focalpoint&domain=varyer.imgix.net&fit=crop&fp-x=0.5&fp-y=0.5&h=1737&ixlib=php-3.3.1&q=45&usm=20&w=1152&s=3df2dbfb3a24ed08599f29441068d1ac 1152w)
The Hall of Mirrors, their new exhibition at Baba Yaga gallery in Hudson, NY, runs from July 8 to August 8. For this show, Filardo created a series of forty large flags bearing their photographs (all of the images in this piece are of works included in the show, save for their portrait). The walls will be painted olive green and the fog machines will still be present, creating a haze that Filardo associates with memory, fleeting youth, and the passage of time.
Their interest in the ready-to-print world of media and its interaction with capital is taken with a fantastical twist. The name comes from the French palace where the Treaty of Versailles was signed. “Of course, that hall is very gaudy and very steeped in fucking gold and gilded shit and chandelier flowers,” Filardo says, “And so there are a lot of images of that kind of shit in the show too.”
This opulent inspiration for their exhibition speaks to Filardo's interest in beauty—or, at least, the interest in beauty that is simply an unavoidable part of the human experience. They talk about how much of their work focuses on "obviously beautiful" things: flowers, animals, shiny objects, or pastoral landscapes.
But for Filardo, these visuals are often a way to reflect on deeper topics: mental health, drug use, and death often sneak into the work, dancing around the edges of these beautiful subjects.
Their DANCE Tombstone flag is a paramount example: a beautiful, cloudless day and a smattering of yellow flowers complement a monolithic tombstone. The emotional contrast is already potent, but the addition of “DANCE” emblazoned in all-caps on the stone is an additional twist. Printed onto a flag, another layer of softness is added as the rigid stone flows and undulates.
As part of our conversation with Filardo, the Varyer shop is hosting a limited run of the DANCE Tombstone flag. Filardo says they haven’t created an identity for the person the tombstone marks, but they have considered the ethics of the image. "That's the thing I like most about commodifying this,” Filardo says. “At first I was like, ‘Oh, it's weird. This is someone's family.’ And then I was thinking, ‘Well, it's in a Confederate cemetery, and I'm a first-generation American. Fuck them,’ you know?”
At one point in our conversation, Filardo brings up birding.
"Following the migration patterns of birds, and finding something that is theoretically and literally fleeting, especially with fitting in with this sort of fantastical, documentary, hypercontrast work. That's the direction I'm reaching for now."
They describe how some birders, much like themselves, head out to locate their photographic subjects and capture the birds through an image. But others opt instead for a pair of binoculars, only witnessing. This, for Filardo, gets to the heart of things: "Seeing the thing becomes enough. It's only for them—you can't take that away from them. Ideally, if I'm lucky, if the images are doing what I want them to do? Hopefully someone has that experience with them in some way."