[Steiger] has remained devoted to landscape painting, even as his vistas often became devoid of visible land. The early, lush colors gave way to simple monochromes; and then color reappeared in unexpected palettes and tinted canvases. Within these progressions and experimentations, one common thread has been subjects whose function precedes the study of their form. They all first existed to serve a purpose; be it a bridge or a plane, a silo to hold grain or a tower to hold water, a train, or just the signal to direct a train, a ride up a mountain in a tram or a circular ride at the amusement park. While not initially created with aesthetic objectives, Steiger visualizes these objects and reexamines their lines, shapes and shadows; suddenly their design is very much in focus, as if it were always the intent. By zooming in on a passenger car dangling from a Ferris wheel or how light illuminates the roof of a grain elevator, the scenes eliminate references to time and place. We are effectively transported to both another time and frame of mind.
--Excerpt from Christopher Gaillard's introductory essay within the artist's monograph Transport, Hudson Hills Press, 2011.