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Figures

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Portraits

Satellites

Exhibitions

1, 7, and 6000

Lemon Keeper

Images larger than 60 inches

Images 24—60 inches

Images smaller than 24 inches

2017

2016

2015

2014

2013

2012

2011

2010

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Everything

Starnose, 2017, 57½×40inch mixed media install Starnose, 2017, 57½×40inch mixed media Starnose, 2017 detail Starnose, 2017, 57½×40inch mixed media
Starnose, 2017
Jamaraat Bridge, 2017, 120×180inch triptych edtion Jamaraat Bridge, 2017 detail
Jamaraat Bridge, 2017
Flood After Flood, 2017, mock install of 40×60inch edition Flood After Flood, 2017 40×60inch edition Flood After Flood, 2017 detail
Flood After Flood, 2017
Season V, 2016, mock install of 72×48inch paint on panel Season V detail, 2016 Season V, 2016 Season V, 2016, mock install of 72×48inch paint on panel
Season V, 2016
Rocinante and Blue Rider, 2016, 60×48 inch edition
Rocinante and Blue Rider, 2016
Bramble Walker, 2017, mock install of 40×60inch edition
Bramble Walker, 2017
Frankenstein's Real, 2017
Frankenstein's Real, 2017
Saturnine Clock, 2016 mock install Saturnine Clock, 2016 detail Saturnine Clock, 2016 Saturnine Clock, 2016 mock install
Saturnine Clock, 2016
Bathers Blues, 2017
Bathers Blues, 2017
Forage Through Absurdity With No Great Certainty To Find Paradise Is Other People, 2017
Forage Through Absurdity With No Great Certainty To Find Paradise Is Other People, 2017
Severen, 2017
Severen, 2017
Prometaphase, 2017
Prometaphase, 2017
World Tulpa, 2017, mock install of 72×60inch edition World Tulpa, 2017
World Tulpa, 2017
Sea I, 2017, mock install of 75×60inch edition Sea I, 2017, 9×7inch, 40×32inch, 75×60inch unique editions Sea I detail, 2017
Sea I, 2017
Mangrove Up, 2012, 74¾×45¼inch edition
Mangrove Up, 2012
Pod On the Hill, 2017
Pod On the Hill, 2017
1, 7, and 6000 at O'Born Contemporary
Two of VII, 2015
Greens, 2012
Greens, 2012
Jame, 2012, one of two 22½×15inch editions
Jame, 2012
Straw Man, 2012, 96×180inch edition Straw Man, 2012 Straw Man, 2012, detail
Straw Man, 2012

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About the Website

This website is an image index of Alex Fischer's art practice. Most things seen here also exist as either a print or unique object like a painting or sculpture. You can find information about available works on Artsy.net or email for more information.

Artists Statement

Alex Fischer's art practice gives rise to a variety of styles. Each piece is wrought into existence through techno-biological happenstance and a mixture of conscious and unconscious actions. They are perhaps best first understood as an ethos that aesthetic experience can inspire understanding and transformation. In the studio Fischer discovers stories and compositions in the flow and leaves trace of their origins, contexts, and impressions. As pixels on a screen and pigment on paper, wood, and canvas, all views are considered views of the real thing.

Select Exhibitions

Talks and Interviews

Select Features

Education

2010 B.F.A. Honours in Visual Arts, York University, Toronto, Canada

Thank You

A heartfelt thank you to those who have helped make this possible: family, friends, techs and fabricators, as well as the generous patronage of BNY Mellon, Donald O'Born, Eqitable Bank, Leith Wheeler, Shrigley Battrick, Statoil, and TD Bank Group.

The Ontario Arts Council

Inspiration

Artist Website

aesthetics AI Diana Al-Hadid Jaime Angelopoulos anthropic principle architecture Artography ASI assemblage atemporal Tauba Auerbach Melanie Authier authority awesome immersion Barth Baudrillard Amelia Bauer Nadia Belerique Alex Bierk black body Jesse Boles Shary Boyle Sascha Braunig Michel De Broin Laura Brothers Matthew Brown Marianne Burlew Judith Butler Sarah Cale Robert Canali capitalism Arturo Castro chance chaos Ian Cheng cinema Joshua Citarella clone Amanda Clyne collage Miles Collyer commodity communications consciousness construct consumption context Petra Cortright crime fiction Sterling Crispin critical theory Liam Crockard Adam Cruces cultural studies culture Robyn Cumming Sara Cwynar Cyberbalkanization cyberspace cyborg dada daesin Robert Davidovitz Jason Deary Baptiste Debombourg decentring Deleuze Nicholas DeMarco Derrida desire Georgia Dickie difference differend digital discontinuity discourse earnestness Jessica Eaton ecological perspective Leanne Eisen Elicser enlightenment ethics ethnicity evasive maneuvers Scott Everingham existentialism expanded painting fashion feminism Brendan Fernandes Adam Ferriss film studies flesh Nika Fontaine Cam Forbes Foucault fragment Freud genre Ian Gerson Sky Glabush globalization Steven Goetz Francisco-Fernando Granados grand narratives Eliza Griffiths Guattari Joe Hamilton Lewis Hammond Harari Harris Hassan Hegel hegemony Heidegger hermeneutic circles Colleen Heslin Dil Hildebrand Layne Hinton history holistic integration Thrush Holmes Tilman Hornig humanism Brian Hunter Hanna Hur Husserl Lili Huston-Herterich hybridity hyperreality identity inclusive indeterminacy individual interdisciplinary imagination interpretation intersubjectivity irony Jay Isaac James Jean Rachel De Joode jouissance Jamian Juliano-Villani Felix Kalmenson Lauire Kang Kant Melike Kara Matt Keegan Jason Khan Kierkegaard Alex Kisilevich Tarik Kiswanson knowledge Brendan George Ko Karen Kraven Lacan language Oliver Laric Rick Leong Derek Liddington logocentrism Erin Loree Paul Luziano Katie Lyle Matt Macintosh Marx Alexandra Majerus Vanessa Maltese Jen Mann Isabel Martinez Edith Maybin Scott Mcfarland Abby Mcguane Alex Mcleod McLuhan Kate McQuillen meaning mediation meditation Merleau-Ponty meta-narrative metacognition metonymy metropolis mimesis modernism John Monteith moral courage Kristine Moran Jenny Morgan Keita Morimoto morphological analysis Faye Mullen Brenna Murphy Andrea Nacciarriti narrative nature neurosis new media Nietzsche nihilism Katja Novitskova Rafael Benjamin Ochoa Anders Oinonen origin/copy Athena Papadopoulos parody pattern Oliver Pauk Lauren Pelc-McArthur performance philosophy play polycultural post-colonialism post-digital poststructuralism power Zeesy Powers practice production psychic masochism Nicholas Pye Nathalie Quagliotto queer theory radical democracy rationality Real realism reason reference Susana Reisman relativism representation resolution responsive compassion rhizome Jeanie Riddle Brian Rideout Tabor Robak Genevieve Robertson Noel Rodo-Vankeulen Tony Romano romanticism Jillian Kay Ross Rachel Rossin Caitlin Rueter Andrew Rutherdale sampling Sartre Saussure Jasper Savage Callen Schaub Claire Scherzinger Jenn Sciarrino schizoanalysis Lina Scheynius Callum Schuster science self-reflexivity semiotic communication semiotics sexuality Claire Sherman signification silence Avery Singer simulation Candaş Şişman Justine Skahan Margaux Smith sociology Soft Turns solipsism sorge ME Sparks Jasper Spicero spiritual emergence Matthew Stone Tim Stoner structuralism Beth Stuart style subjectivity surface/depth synchronistic syncretism technology television Angela Teng Jessica Thalmann theatre theology geetha thurairajah Stanzie Tooth tradition Brad Troemel Winnie Truong truth Brian Ulrich unconscious Sandra Vaka Julia Vandepolder versions Michael Vickers Artie Vierkant virtuality Tobias Williams Wittgenstein Margo Wolowiec Qiu Yang Žižek Elizabeth Zvonar

A Rose Is A Rose Is A, 2017, one of three 12×8.4inch editions A Rose Is A Rose Is A, 2017, matte
A Rose Is A Rose Is A, 2017
Banana Plumage, 2017, 30×24inch, 9×7inch unique editions
Banana Plumage, 2017
Between You and Me, 2017, one of three 18.2×14.6inch editions
Between You and Me, 2017
Between Steps, 2017, 14×11 inch edition
Between Steps, 2017
Chameleon Pro, 2017, 9×7inch AP
Chameleon Pro, 2017
Der Hirte, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions Der Hirte, 2017, matte
Der Hirte, 2017
Frankenstein, 2017, 9×7inch AP
Frankenstein, 2017
Goes Down Easy, 2017, 9×7inch edition
Goes Down Easy, 2017
Ha, 2017, 9×7inch edition
Ha, 2017
Isle E, 2017, 9×7inch AP
Isle E, 2017
Alex, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions Alex, 2017, detail
Alex, 2017
Andrew, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions Andrew, 2017, detail
Andrew, 2017
Baasir, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions Baasir, 2017, detail
Baasir, 2017
Baily, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions
Baily, 2017
David, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions David, 2017, detail
David, 2017
Emily, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions
Emily, 2017
Holly, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions Holly, 2017, detail
Holly, 2017
Jason, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions Jason, 2017, detail
Jason, 2017
Justin, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions Justin, 2017, detail
Justin, 2017
Lana, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions Lana, 2017, detail
Lana, 2017
Richard, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions Richard, 2017, detail
Richard, 2017
Sam, 2017, 11×8½inch, 22×17inch, 44×34inch unique editions Sam, 2017, detail
Sam, 2017
Lacunal Heights, 2017, 60×40inch edition Lacunal Heights, 2017, detail
Lacunal Heights, 2017
Lemon Keeper, 2017, 19×25inch, 10×13¼inch unique editions Lemon Keeper, 2017, mock install
Lemon Keeper, 2017
Mirror Projection, 2017, 9×7inch AP
Mirror Projection, 2017
Nettle Keeper, 2017, 21¼×17inch edition
Nettle Keeper, 2017
On, 2017, 20×16¼inch edition On, 2017, mock install brick On, 2017, mock install fireplace
On, 2017
Pale Rythem, 2017, 50×40inch, 9×7inch unique editions Pale Rythem, 2017, matte
Pale Rythem, 2017
Pod On The Hill, 2017, 50×33½inch, 25×16¾inch unique editions
Pod On The Hill, 2017
Portrait Landscape, 2017, 9×7inch AP
Portrait Landscape, 2017
Red Centre, 2017, 18×14inch edition
Red Centre, 2017
Sea I, 2017, 9×7inch, 40×32inch, 75×60inch unique editions Sea I, 2017, detail Sea I, 2017, install
Sea I, 2017
Snakes and Lobbies, 2017 9×7inch edition
Snakes and Lobbies, 2017
Starnose, 2017, 57½×40inch mixed media Starnose, 2017, detail
Starnose, 2017
Tangled Bank, 2017, 36×24inch painting on canvas Tangled Bank, 2017, detail Tangled Bank, 2017, detail
Tangled Bank, 2017
Tango, 2017, 9×7inch AP
Tango, 2017
untitled, 2017, 9×7inch edition
untitled, 2017
Who's Counting, 2017, 22½×17½inch, 9×7inch unique editions
Who's Counting, 2017
World-tulpa, 2017, 75×60 inch unique edition World-tulpa, 2017, 75×60 inch unique edition
World-tulpa, 2017
Left: Official, 2015 72×48 inch edition. Right: World Tulpa, 2017, 75×60 inch edition.
L: Official, 2017
R: World Tulpa, 2017
Left: Banana Plumage, 2017 30×24 inch edition. Right: Lacunal Heights, 2017 60×40 inch edition.
L: Banana Plumage, 2017
R: Lacunal Heights, 2017

A Malinche Double, 2016, one of ten 14×11inch editions A Malinche Double, 2017, framed A Malinche Double, 2017, install
A Malinche Double, 2016
Ghost Horse, 2016, one of three 15×15inch editions Ghost Horse, 2016, framed
Ghost Horse, 2016
In a Dream about a Ghost, 2016, one of two 72×57½inch editions In a Dream about a Ghost, 2016, detail In a Dream about a Ghost, 2016, install
In a Dream about a Ghost, 2016
Iron Lung, 2016, one of two 72×57½inch editions Iron Lung, 2016, detail Iron Lung, 2016, install
Iron Lung, 2016
Look Out Lucinda, 2016
Look Out Lucinda, 2016
Milne's Crossing, 2016, one of three 11×14inch editions Milne's Crossing, 2016, framed
Milne's Crossing, 2016
Night Outside, 2016, one of three 12½×10inch editions
Day Outside, 2016
Night Outside, 2016, one of three 12½×10inch editions
Night Outside, 2016
Pet, Casper and Hesperie, 2016, 48×54inch paint on canvas
Pet, Casper and Hesperie, 2016
Pet, 2016, one of three 12×9⅗inch editions
Pet, 2016
Casper, 2016, one of three 12×9⅗inch editions
Casper, 2016
Hesperie, 2016, one of three 12×9⅗inch editions
Hesperie, 2016
Pluck from the Brush, 2016, one of ten 14×11inch editions
Pluck from the Brush, 2016
Rocinante and Blue Rider, 2016, one of two 60×48inch editions Rocinante and Blue Rider, 2016, detail Rocinante and Blue Rider, 2016, install
Rocinante and Blue Rider, 2016
Saturnine Clock, 2016, 75×60inch edition Saturnine Clock, 2016, detail Saturnine Clock, 2016, install
Saturnine Clock, 2016
Save Cave, 2016, one of ten 14×11inch editions Save Cave B&WInfrared, 2016 Save Cave B&WBlue, 2016
Save Cave, 2016
Season V, 2016, 72×48inch paint on panel Season V, 2016, detail Season V, 2016, install
Season V, 2016
Super Seed B&WBlue, 2016, one of ten 14×11inch editions Super Seed, 2016, one of ten 14×11inch editions
Super Seed B&WBLUE, 2016
Thistlee Keeper, 2016, one of three 21¼×17inch editions
Thistlee Keeper, 2016
Wave V, 2016, one of ten 14×11inch editions
Wave V, 2016
Willow Fire, 2016, one of ten 14×11inch editions
Willow Fire, 2016
With Picabia's Hand, 2016, one of ten 14×11inch editions
With Picabia's Hand, 2016
With Picabia's Hand earlier, 2016, one of ten 14×11inch editions
With Picabia's Hand earlier, 2016

Exhibition: Trace • Copy • Render

Alex Fischer, Rita Maas, Susana Reisman, Sharon Switzer
Curated by Claire Sykes for Circuit Gallery @ Prefix ICA, fall 2016
Click to read exhibition statement

This exhibition brings together four artists who are thinking about origins, process, materials, and labour as they explore the possibilities and implications of working digitally.

At the heart of Trace • Copy • Render is a shared interest in revealing, hiding, and playing with digital and material processes and manipulations, and the coincidence or disconnect (as the case may be) between final output and the myriad steps involved in the process of its realization.

Alex Fischer is an artist whose practice deliberately blurs and confounds the borders between media, and constitutes digital-image making as an extension of traditional artistic media and concerns. He uses advanced digital imaging techniques to manipulate found source imagery, to layer and build-up complex new compositions that are often hard to pin down as to medium or process, and which maintain a tension between the physical and the virtual, the original and the copy, the index and the trace.

In a fascinating inversion of his work on the computer, Fischer just as easily jumps out from the digital realm—off the virtual canvas—and performs ‘photoshop' by physically copying, tracing, blending, adding layers and various effects to printed and painted works. Fischer's series of work in Trace • Copy • Render offers a self-reflexive glimpse into his process of creation and concerns and includes paintings, projections, and prints. (more...)

– Claire Sykes, August 2016

Trace • Copy • Render, Circuit Gallery @ Prefix ICA
Season V, Trace • Copy • Render
Trace • Copy • Render, Circuit Gallery @ Prefix ICA
A grid of ten 14×11in pieces with painted wall matte and projection
Trace • Copy • Render, Circuit Gallery @ Prefix ICA
Trace • Copy • Render, Circuit Gallery @ Prefix ICA

000000, 2015, one of two 25½×20inch editions
000000, 2015
0c, 2015, one of two 25½×20inch editions
0c, 2015
1b, 2015, one of two 25½×20inch editions 1b, 2015 1b, 2015
1b, 2015
3, 2015, one of two 25½×20inch editions
3, 2015
Beach Landing, 2015, exhibition AP
Beach Landing, 2015
Blue Lei, 2015, one of two 25½×20inch editions Blue Lei, 2015 Blue Lei, 2015
Blue Lei, 2015
Blue Lei detail, 2015
Blue Lei detail
Bowl, 2015, one of two 25½×20inch editions
Bowl, 2015
Brown Lemon, 2015, one of two 25½×20inch editions
Brown Lemon, 2015
Green Scrape, 2015, exhibition AP
Green Scrape, 2015
HA, 2015, one of two 14×21inch editions
HA, 2015
My My Mind Vs Brain, 2015, one of two 20×16inch editions
My My Mind Vs Brain, 2015
Official, 2015, one of two 25½×20inch editions Official, 2015 Official, 2015
Official, 2015
Real Safe Myth, 2015, one of two 10×9inch editions
Real Safe Myth, 2015
Red Lemon, 2015, one of two 30×24inch editions
Red Lemon, 2015
Untitled22, 2015, one of two 30×24inch editions
Untitled22, 2015
Was A Fish, 2015, 16×20inch edition
Was A Fish, 2015

Exhibition: 1, 7, and 6000

solo exhibition at O'Born Contemporary, spring 2015
Click to read exhibition statement

(1)

On the occasion of Alex Fischer's fourth solo exhibition with O'Born Contemporary, he problematizes the single image by its very conversion into multiple, nearly identical forms. A digital original is here reproduced as 1 digital print, 7 large oil paintings, and 6000 small acrylic paintings. Through this multi-modal exhibition, Fischer deliberates on the nature of art with its value systems and capitalist patrimony.

Current agricultural trends demonstrate that when tomatoes are grown, the aim is to direct natural processes, taking agency over evolution. Like all biological species, the tomato plant contains a genetic copy of itself inside every cell of its being. Repetition and versioning are as much a rule in agriculture as they are in human life. Conversely, uniqueness and independence of mind are selling points when it comes to art. There is an established value in originality.1

(7)

Each of the 7 oil paintings was completed by an equal number of painters working in Xiamen, China. Fischer puts the work of these trained hands in direct visual argument with the mechanically reproduced print: he suggests deliberation about the capitalist mechanism and simultaneously entertains his moral ambiguity within this landscape of unapologetic consumptive socio-culture.

The controversy here may be in the fact that Fischer criticizes the capitalist system by highlighting elements that are uncomfortable to acknowledge while fully engaging with capitalism's ideologies through the kaleidoscope of fine art and its market. He grows the pieces, puts them under optimal lighting, and creates versions at price points to invite the viewer to buy.

(6000)

An arched shelf bolsters 6000 small sheets of thin, transparent plastic. Hundreds of editions have already been painted, revealing that they exist as an assemblage of tiles that, when properly arranged, mimic their parent image. Fischer will paint the remaining sheets on demand as they are requested and will continue this practice alongside his other projects.

Artwork as a commodity is not valuable per se– its value is the result of an ongoing and never ending social negotiation. That being said, the work of art, and painting specifically, is an object that bears a concrete, almost measurable evidence of labour on its surface.2 Paintings are worked over and leave a trace of the individual mark maker. Each edition in 1, 7, and 6000 shows on its surface the inevitable difference made during translation between parent image and end product. Each image is the real thing.

– Alex Fischer, February 2015

1. This idea is commensurate with remarks issued by Ben Davis: It is the uniquely middle-class nature of creative labor in the visual arts [that] would seem to explain its alternative emphasis on the individual, that is, on the virtues of personality and small production, as well as a whole host of other stylistic tics and affectations(...) visual art's characteristic questioning or ironic attitude; the value of the artist's signature and the 'artist's statement' that are associated with it. Davis, Ben. 9.5 Theses on Art and Class - Commerce and Consciousness. Chicago:Haymarket Books, 2013. PDF file.

2. Graw, Isabelle. Thinking through Painting - Reflexivity and Agency beyond the Canvas. Sternberg Press, 2012. Page 56.

A digital original is here reproduced as one digital print, seven large oil paintings, and six thousand small acrylic paintings. Each of the seven oil paintings were completed by an equal number of photorealist painters working in Xiamen, China.

VII, 2015, unique 60×48inch edition
VII, 2015
VII 冯声贵 Feng Shui Gui, 2015, 60×48inch oil on canvas
VII 冯声贵 Feng Shui Gui, 2015
VII 叶安 Ye An, 2015, 60×48inch oil on canvas
VII 叶安 Ye An, 2015
VII 林建 Lin Jian, 2015, 60×48inch oil on canvas
VII 林建 Lin Jian, 2015
VII 江明 Jiang Ming, 2015, 60×48inch oil on canvas
VII 江明 Jiang Ming, 2015
VII 陈山 Chen Shan, 2015, 60×48inch oil on canvas
VII 陈山 Chen Shan, 2015
VII 陈文波 Chen Wen Bo, 2015, 60×48inch oil on canvas
VII 陈文波 Chen Wen Bo, 2015
VII 陈秋林 Chen Qiu Linches, 2015, 60×48inch oil on canvas
VII 陈秋林 Chen Qiu Lin, 2015
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary

The work of art, and painting specifically, is an object that bears a concrete, almost measurable evidence of labour on its surface. Paintings are worked over and leave a trace of the individual mark maker. Each edition in 1, 7, and 6000 shows on its surface the inevitable difference made during translation between parent image and end product. Each image is the real thing.

VII 6000 1–120, scan of first one hundred and twenty sheets
VII 6000 1–120, scan of first one hundred and twenty sheets
VII 6000, mock of all six thousand sheets
VII 6000 mock of all six thousand sheets
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary

VII 6000 Arch, 2015
A 82×48×40 inch acrylic and aluminium arch bolstering two hundred and forty 6×4 inch painted sheets.

VII 6000 Arch, 2015, Image 1
VII 6000 Arch 1
VII 6000 Arch 2
VII 6000 Arch 2
VII 6000 Arch 3
VII 6000 Arch 3
VII 6000 Arch 4
VII 6000 Arch 4
VII 6000 Arch 5
VII 6000 Arch 5
VII 6000 Arch 6
VII 6000 Arch 6
VII 6000 Arch 8
VII 6000 Arch 8
VII 6000 Arch 9
VII 6000 Arch 9
VII 6000 Arch 10
VII 6000 Arch 10
VII 6000 Arch 11
VII 6000 Arch 11
VII 6000 Arch 7
VII 6000 Arch 7
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
VII 6000 scan of sheets 64 and 65
1, 7, and 6000 at O'Born Contemporary
VII 6000 scan of sheets 53 and 173
1, 7, and 6000 at O'Born Contemporary
VII 6000 1–120
1, 7, and 6000 mock 1
1, 7, and 6000 mock 1
1, 7, and 6000 mock 2
1, 7, and 6000 mock 2
1, 7, and 6000 mock 3
1, 7, and 6000 mock 3
1, 7, and 6000 mock 4
1, 7, and 6000 mock 4
1, 7, and 6000 mock 7
1, 7, and 6000 mock 7
1, 7, and 6000 mock 8
1, 7, and 6000 mock 8
VII 6000 a1, 2015
VII 6000 a2, 2015
VII 6000 a3, 2015
VII 6000 a4, 2015
VII 6000 a5, 2015
VII 6000 a6, 2015
VII 6000 a7, 2015
VII 6000 a8, 2015
VII 6000 a9, 2015
VII 6000 a10, 2015
VII 6000 a11, 2015
VII 6000 a12, 2015
VII 6000 b1, 2015
VII 6000 b2, 2015
VII 6000 b3, 2015
VII 6000 b4, 2015
VII 6000 b5, 2015
VII 6000 b6, 2015
VII 6000 b7, 2015
VII 6000 b8, 2015
VII 6000 b9, 2015
VII 6000 b10, 2015
VII 6000 b11, 2015
VII 6000 b12, 2015
VII 6000 c1, 2015
VII 6000 c2, 2015
VII 6000 c3, 2015
VII 6000 c4, 2015
VII 6000 c5, 2015
VII 6000 c6, 2015
VII 6000 c7, 2015
VII 6000 c8, 2015
VII 6000 c9, 2015
VII 6000 c10, 2015
VII 6000 c11, 2015
VII 6000 c12, 2015
VII 6000 d1, 2015
VII 6000 d2, 2015
VII 6000 d3, 2015
VII 6000 d4, 2015
VII 6000 d5, 2015
VII 6000 d6, 2015
VII 6000 d7, 2015
VII 6000 d8, 2015
VII 6000 d9, 2015
VII 6000 d10, 2015
VII 6000 d11, 2015
VII 6000 d12, 2015
VII 6000 e1, 2015
VII 6000 e2, 2015
VII 6000 e3, 2015
VII 6000 e4, 2015
VII 6000 e5, 2015
VII 6000 e6, 2015
VII 6000 e7, 2015
VII 6000 e8, 2015
VII 6000 e9, 2015
VII 6000 e10, 2015
VII 6000 e11, 2015
VII 6000 e12, 2015
VII 6000 f1, 2015
VII 6000 f2, 2015
VII 6000 f3, 2015
VII 6000 f4, 2015
VII 6000 f5, 2015
VII 6000 f6, 2015
VII 6000 f7, 2015
VII 6000 f8, 2015
VII 6000 f9, 2015
VII 6000 f10, 2015
VII 6000 f11, 2015
VII 6000 f12, 2015
VII 6000 g1, 2015
VII 6000 g2, 2015
VII 6000 g3, 2015
VII 6000 g4, 2015
VII 6000 g5, 2015
VII 6000 g6, 2015
VII 6000 g7, 2015
VII 6000 g8, 2015
VII 6000 g9, 2015
VII 6000 g10, 2015
VII 6000 g11, 2015
VII 6000 g12, 2015
VII 6000 h1, 2015
VII 6000 h2, 2015
VII 6000 h3, 2015
VII 6000 h4, 2015
VII 6000 h5, 2015
VII 6000 h6, 2015
VII 6000 h7, 2015
VII 6000 h8, 2015
VII 6000 h9, 2015
VII 6000 h10, 2015
VII 6000 h11, 2015
VII 6000 h12, 2015
VII 6000 i1, 2015
VII 6000 i2, 2015
VII 6000 i3, 2015
VII 6000 i4, 2015
VII 6000 i5, 2015
VII 6000 i6, 2015
VII 6000 i7, 2015
VII 6000 i8, 2015
VII 6000 i9, 2015
VII 6000 i10, 2015
VII 6000 i11, 2015
VII 6000 i12, 2015
VII 6000 j1, 2015
VII 6000 j2, 2015
VII 6000 j3, 2015
VII 6000 j4, 2015
VII 6000 j5, 2015
VII 6000 j6, 2015
VII 6000 j7, 2015
VII 6000 j8, 2015
VII 6000 j9, 2015
VII 6000 j10, 2015
VII 6000 j11, 2015
VII 6000 j12, 2015

Angler, 2014, one of two 25½×20inch editions
Angler, 2014
Aviary, 2014, one of five 30×27inch editions
Aviary, 2014
Garden Spell, 2014, one of five 17×17inch editions Garden Spell, 2014
Garden Spell, 2014
George's Cuttlefish, 2014
George's Cuttlefish, 2014
Inside The Faberge Egg, 2014, one of two 25×20inch editions
Inside The Faberge Egg, 2014
M, 2014, one of two 20×16inch editions
M, 2014
Moore, 2014, unique 75×60 inch and 37½×30inch editions
Moore, 2014
On Cotton, 2014, unique 15×12inch edition
On Cotton, 2014
Parlor, 2014, one of two 30×24inch editions
Parlor, 2014
Planet Print, 2014, one of two 17×17inch editions
Planet Print, 2014
Supersymmetry II, 2014, 96×96inch edition Supersymmetry II, 2014 Supersymmetry II, 2014 Supersymmetry II, 2014
Supersymmetry II, 2014
Wish You Were Here, 2014, one of three 20×16inch editions
Wish You Were Here, 2014
Wizard Eyes, 2014, one of three 12½×10inch editions
Wizard Eyes, 2014
A General Impression, 2013, 11×8½inch exhibition AP
A General Impression, 2013
Ammonite, 2013, 27×15×40inch mixed media sculpture. driftwood, clay, silicone, cotton, paint, glass, plastic, foam, acrylic, steel
Ammonite, 2013
Blood Bowl, 2013, one of three 15×12inch edition
Blood Bowl, 2013
Brush Wor, 2013, one of two 20×16inch editions
Brush Work, 2013
Disc, 2013, 96×48inch AP Disc, 2013 Disc, 2013 Disc, 2013
Disc, 2013
Feather Feeder, 2013, 36&frac25×42;inch exhibition AP
Feather Feeder, 2013
Flesh Fruit, 2013, one of four 10½×8inch editions
Flesh Fruit, 2013
Jewel Fruit, 2013, one of four 11×8½inch editions
Jewel Fruit, 2013
Is Water, 2013, 24¼×40¾inch exhibition AP
Is Water, 2013
Jelly Portrait, 2013, 27×25⅝inch AP Jelly Portrait, 2013 Jelly Portrait, 2013
Jelly Portrait, 2013
Lichen, 2013, 35×35×75inch mixed media sculpture Lichen, 2013
Lichen, 2013
Loop (Santiago), 2013, 43×34inch AP Loop (Santiago), 2013
Loop Santiago, 2013
Markered Market, 2013, unique 18×28½inch edition and two 12×19inch editions
Markered Market, 2013
Mouth, 2013, 96×144in digital painting Mouth, 2013, 96×144inch exhibition dye sub on textile Mouth, 2013 detail Mouth, 2013 detail Mouth, 2013 detail
Mouth, 2013
Nervous System Preserver, 2013, 13¾×13¾×2¾in nylon 3d print
Nervous System Preserver, 2013
Ready To Ooze, 2013, 63⅛×37⅝inch AP Ready To Ooze, 2013 install Ready To Ooze, 2013 install
Ready To Ooze, 2013
Seeding, 2013, 21×14inch exhibition AP
Seeding, 2013
Shellfish Cells, 2013, 9⅝×7⅝inch exhibition AP
Shellfish Cells, 2013
Similar Image Object (b), 2013, 15¾×47¼ screenprint on mirror
Similar Image Object (b), 2013
Untitled Head, 2013, one of two 24×21⅗inch editions
Untitled Head, 2013

Exhibition: Dry Pixels And Wet Molecules

solo exhibition at O'Born Contemporary, winter 2013 Click to read exhibition statement

In Dry Pixels And Wet Molecules Alex Fischer counter-poses the primordial origins of biology against today's dominant technology-based vernacular. In earnest, the artist acknowledges through his practice elements peculiar to the time of his being. Put in alternative terms, Fischer concedes that the acts of being and becoming are wholly different now than at any time in our recent or distant past.

Dry Pixels And Wet Molecules poses a valuable and contemporary question using sensory terms--can the digital reconcile With the physical? The works of art comprising this materially varied exhibition reveal themselves as both answers to and instigators of this question. Through digital manipulations, sculpture, and installation, Fischer convinces his audience that technology is not simply an imbricate to the physical and the palpable but rather supersedes both.

The multi-modal moment in which art-making has found itself produces what could be called moist media, a curious but worthwhile corollary to the Mcluhan's cold media of days past. Absorbing this idea, Fischer wedges himself between the dry, cold of the pixel and the wetness of biomolecules. Ultimately suggesting that we are living in a post-digital world, the artist exposes a tactility and precision with his imagery that in effect surpasses the daily surroundings we perceive with our own eyes and bodies.

– Alex Fischer, September 2013

Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
detail
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary
Dry Pixels and Wet Molecules at O'Born Contemporary

Adobe Mask, 2012, one of three 27⅞×22½inch editions
Adobe Mask, 2012
Artists Image, 2012, one of five 11¾×8⅝inch editions
Artists Image, 2012
Big Blue, 2012, 2560×1440pixel digital composite
Big Blue, 2012
bow 2012, one of three 15½×23⅝inch editions
bow, 2012
Cell Pattern, 2012, 96×96inch edition Cell Pattern, 2012 install
Cell Pattern, 2012
Greens, 2012, 80×120inch digital painting Greens, 2012, 80×120inch screenprint on plexi
Greens, 2012
Daily, 2012, one of three 57½×40inch editions Daily, 2012 install bus Daily, 2012 install poolside
Daily, 2012
Deep Deep Under, 2012, one of three 15×12inch editions
Deep Deep Under, 2012
Earlier, 2012, one of three 16¾×12⅗inch editions
Earlier, 2012
Jame, 2012, one of two 22½×15inch editions Jame, 2012 install
Jame, 2012
Mangrove Down, 2012, 74¾×45¼inch AP Mangrove Down, 2012 install
Mangrove Dow, 2012
Mangrove Up, 2012, 74¾×45¼inch edition
Mangrove Up, 2012
Seer, 2012, one of two 28×28inch editions
Seer, 2012
Straw Man, 2012, 96×180inch exhibition AP
Straw Man, 2012
Supercollider, 2012, one of three 48×48inch editions
Supercollider, 2012
Up, 2012, one of three 22×17½inch editions
Up, 2012
Whale Brainches, 2012, one of two 30×20inch editions
Whale Brain, 2012

Exhibition: Beyond The Fall

solo exhibition at
Galerie BAC, winter 2013
O'Born Contemporary, fall 2012
Click to read exhibition statement

Artists must take responsibility for representing the time in which they live.

The images of Beyond The Fall come from what has become the predominant first-world interface: The personal computer and internet capable device is now the primary filter by which broad swaths of people interact and know themselves. These technologies have the ability to snake our attentions, beliefs and desires, influencing cognition and our experience of the world.

In order to represent these paradigm shifts, Alex Fischer reifies the low-culture of individualistic habits and persuasions to be in dialogue with the ripe philosophy of high art. His chosen medium of digital collage perfectly compliments his artistic process, by which he paints together images from a collection of digital sources. Each piece concedes to multiple interpretations due to Fischer's choice to obscure the visual space of the image into near abstraction. The narratives encompass characters, scenes, and symbols with all of their ambiguity, insight, and metaphysical baggage on display. The content originates from their adaptations to and the impact of this current age.

– Alex Fischer, August 2012

Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC
Beyond The Fall at Galerie BAC

Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary
Beyond The Fall at O'Born Contemporary

Aurora, 2011, one of five 12×12⅗inch editions Aurora, 2011, framed
Aurora, 2011
Batgirl, 2011, one of four 17×12inch editions
Batgirl, 2011
Beyond The Fall, 2011, one of three 43×64inch editions
Beyond The Fall, 2011
Blackfoot, 2011, one of five 15×9⅛inch editions Blackfoot, 2011, framed
Blackfoot, 2011
Bluenose, 2011, one of four 15×11inch editions Bluenose, 2011, framed
Bluenose, 2011
Island, 2011, 48×24inch AP Island, 2011, install
Island, 2011
Kind Of Blue, 2011, one of five 11⅛×13⅛inch editions Kind Of Blue, 2011, install
Kind Of Blue, 2011
Myrrha, 2011, one of five 9⅞×7½inch editions
Myrrha, 2011
Paradise, 2011, one of four 15×11inch editions
Paradise, 2011
Parrots, 2011, 60×84inch AP Parrots, 2011 install
Parrots, 2011
Purple Jesus, 2011, one of five 13⅛×12¾inch editions Purple Jesus, 2011 install
Purple Jesus, 2011
The Infant And The Garden Hose, 2011, 47inch diameter exhibition AP
The Infant And The Garden Hose, 2011
Untitled Gaze, 2011, one of four 15×11inch editions
Untitled Gaze, 2011
Artists Retreat, 2010, one of five 16×14⅗inch editions Artists Retreat, 2010 install
Artists Retreat, 2010
Beach House, 2010, one of five 15×9inch editions
Beach House, 2010
Body Of Eris, 2010, 74×48×18inch mixed media sculpture Body Of Eris, 2010 Body Of Eris, 2010 Body Of Eris, 2010 Body Of Eris, 2010 Body Of Eris, 2010 Body Of Eris, 2010
Body Of Eris, 2010
Bring Home The Bacon, 2010, one of five 15×20inch editions Bring Home The Bacon, 2010 install
Bring Home The Bacon, 2010
Cooks Cape, 2010, 60×84inch exhibition AP
Cooks Cape, 2010
Dweller, 2010, one of five 11⅖×9⅞inch editions
Dweller, 2010
ed, 2010, one of five 11×11inch editions
Ed, 2010
Figure Head, 2010, one of four 57×55inch editions
Figure Head, 2010
Fungus Philosopher, 2010, one of ten 9⅛×7⅞inch editions
Fungus Philosopher, 2010
Good Grief, 2010, one of ten 22×16inch editions
Good Grief, 2010
Grandfather Wreath, 2010, mixed media sculpture
Grandfather Wreath, 2010
Groud, 2010, exhibition AP
Ground, 2010
Monster Mash, 2010, one of five 9⅛×7⅞inch editions
Monster Mash, 2010
Plans For A Home, 2010, one of five 24×20½inch editions
Plans For A Home, 2010
Salt Lake Schulnik, 2010, one of five 13×12inch editions
Salt Lake Schulnik, 2010
Spider From Venus, 2010, one of five 13×12inch editions
Spider From Venus, 2010
Teen Dream, 2010, one of ten 11⅖×9⅞inch editions
Teen Dream, 2010
The Invisible Man Returns, 2010, 47⅞×32inch exhibition AP
The Invisible Man Returns, 2010
Three Fates, 2010, 60×92inch exhibition AP
Three Fates, 2010
Trouble On Volcano Sundae, 2010, one of five 16×14⅗inch editions Trouble On Volcano Sundae, 2010 install
Trouble On Volcano Sundae, 2010
Untitled Greens, 2010, one of five 15×20inch editions
Untitled Greens, 2010
Venus, 2010, one of three 14½×10½inch editions
Venus, 2010

Exhibition: Smarter Today

solo exhibition at O'Born Contemporary, fall 2010 Click to read exhibition statement

Smarter Today offers a human view of futurist landscapes, a view that explores the ideologies and projections of society through the lens of contemporary art.

Alex Fischer composes his figures and landscapes by assembling a variety of visual and conceptual sources. Keeping in mind that ideas of the future are inevitably the fastest to change, Fischer maintains that human nature is a fallible and susceptible state.

Technological advancement and machine generations have vastly outpaced the tradition of the average human life. As a society, we have adapted to accept the pace at which vast differences and contrasts will influence our modes of being. All projections of which are unpredictable beyond our present context. Today more than ever before, we situate ourselves less as individuals and more as the product of multiple networks. While this network theory suggests a node's relationship to other networks is more important than its own uniqueness, we find a backlash of reflection on individual circumstance and identity.

The subjects and characters of Smarter Today are reflections on the syncretism that created them. Their exterior identities have been extricated to include all of their precursors. They are heterogeneous and intermingled with their environments, yet maintain their subjectivity in the face of a post-structuralist world.

– Alex Fischer, September 2010

Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary
Smarter Today at O'Born Contemporary

Crewdson Landscaping And Design, 2009, one of five 17×17inch editions
Crewdson Landscaping And Design, 2009
Fischer's Garden, 2009, one of five 17×17inch editions
Fischer's Garden, 2009
Hilde-brand Graffiti, 2009, one of two 36×54inch editions
Hilde-brand Graffiti, 2009
Julia Waits At Kims Crag, 2009, one of five 17×17inch editions
Julia Waits At Kims Crag,
Our Ground, 2009, one of three 60×60inch editions
Our Ground, 2009
Polyester Boat, 2009, one of five 17×17inch editions
Polyester Boat, 2009
Santiago Sara Brown, 2009, one of five 17×17inch editions
Santiago Sara Brown, 2009
Safarti's Walk, 2009, one of five 17×17inch editions
Safarti's Walk, 2009
Sarsen For The Mother Of The Bride, 2009, one of five 17×17inch editions
Sarsen For The Mother Of The Bride, 2009
South West Esteem, 2009, one of four 36×54inch editions
South West Esteem, 2009
Terra Cape, 2009, one of five 17×17inch editions
Terra Cape, 2009
Tethered To Soth, 2009, one of five 17×17inch editions
Tethered To Soth, 2009
We'll Watch Twin Peaks, 2009, one of three 36×54inch editions
We'll Watch Twin Peaks, 2009
Williams Bridge, 2009, one of five 17×17inch editions
Williams Bridge, 2009
Fallow The City Has Fields, 2008, one of five 4½×2¾inch editions
Fallow The City Has Fields, 2008
Jeff Wall Dug Me A Mountainches, 2008, one of five 36×54inch editions
Jeff Wall Dug Me A Mountain, 2008