Alex Fischer

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Visual Artist born ago in 1986. Browse some available works and email for more information.

Statement

As a visual artist, I work on the frontier of expanded painting. This means that a riot of possible techniques and subjects are considered when working on a single piece. I practice a continuous reflexivity in order to address and critique modern life's different psychological rationales and cultural schools of thought. Working similarly to an abstract expressionist I layer and discover compositions through my creative process, one that coincides with what R.G. Collingwood described as not expressing the unknown, but discovering the unknown.

I’m interested in painting specifically, as an object that bears concrete, almost measurable evidence of labour on its surface. To advance these ideas into the 21st-Century I use digital image editing techniques to work out complex compositions. Essentially, I work images through a series of conscious and sub-conscious actions, leaving that which allows the viewer to enter into conversations about culture and nature.

Alex, 2017, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex
Alex Fischer, Andrew, 2017
Andrew, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex Fischer, Baasir, 2017
Baasir, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex Fischer, Baily, 2017
Baily, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex Fischer, David, 2017
David, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex Fischer, Emily, 2017
Emily, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex Fischer, Head I, 2017
Head I, unique 13⅘×11in print
Alex Fischer, Head II, 2017
Head II, unique 13⅘×11in print
Alex Fischer, Head III, 2017
Head III, unique 13⅘×11in print
Alex Fischer, Holly, 2017
Holly, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex Fischer, Jason, 2017
Jason, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex Fischer, Justin, 2017
Justin, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex Fischer, Lana, 2017
Lana, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex Fischer, Richard, 2017
Richard, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex Fischer, Sam, 2017
Sam, unique at size prints: 11×8½in, 22×17in, 33×25½in, 55×42½in
Alex Fischer, Alex and Lana mock install, 2017
Alex and Lana mock install
Alex Fischer, World Tulpa, 2017
World Tulpa, unique 72×60in print
Alex Fischer, World Tulpa, 2017
World Tulpa detail
mock install of Justin, Saturnine Clock, and Rocinante and Blue Rider
Justin, 2017 + Saturnine Clock, 2016 + Rocinante and Blue Rider, 2016 mock install
Alex Fischer, A malinche Double, 2016
A malinche Double, one of ten 14×11in prints from photograph of oil paint and projected light
Alex Fischer, A malinche Double framed, 2016
A malinche Double framed
Alex Fischer, A malinche Double install, 2016
A malinche Double install
Alex Fischer, Dip, 2016
Dip, one of ten 14×11in prints
Alex Fischer, Ghost Horse, 2016
Ghost Horse, one of three 15×15in prints
Alex Fischer, Ghost Horse framed, 2016
Ghost Horse framed
Alex Fischer, In a Dream about a Ghost, 2016
In a Dream about a Ghost, one of two 72×57½in prints
Alex Fischer, In a Dream about a Ghost mock install, 2016
In a Dream about a Ghost mock install
Alex Fischer, In a Dream about a Ghost detail, 2016
In a Dream about a Ghost detail
Alex Fischer, Iron Lung, 2016
Iron Lung, unique 60×90in print
Alex Fischer, Iron Lung mock install, 2016
Iron Lung detail
Alex Fischer, Iron Lung mock install, 2016
Iron Lung mock install
Alex Fischer, Look Out Lucinda, 2016
Look Out Lucinda, one of ten 14×11in prints
Alex Fischer, Milne's Crossing, 2016
Milne's Crossing, one of three 11×14in prints
Alex Fischer, Milne's Crossing framed, 2016
Milne's Crossing framed
Alex Fischer, Night Outside, 2016
Day Outside, one of three 12½×10in prints
Alex Fischer, Night Outside, 2016
Night Outside, one of three 12½×10in prints
Alex Fischer,
Pet, Casper and Hesperie, 48×54in oil and acrylic on canvas
Alex Fischer, Pet, 2016
Pet, one of three 12×9⅗in prints from photograph of oil and acrylic on canvas
Alex Fischer, Casper, 2016
Casper, one of three 12×9⅗in prints from photograph of oil and acrylic on canvas
Alex Fischer, Hesperie, 2016
Hesperie, one of three 12×9⅗in prints from photograph of oil and acrylic on canvas
Alex Fischer, Pluck from the Brush, 2016
Pluck from the Brush, one of ten 14×11in prints
Alex Fischer, Rocinante and Blue Rider, 2016
Rocinante and Blue Rider, one of two 60×48in prints
Alex Fischer, Rocinante and Blue Rider detail, 2016
Rocinante and Blue Rider detail
Alex Fischer, Rocinante and Blue Rider (install), 2016
Rocinante and Blue Rider install
Alex Fischer, Saturnine Clock, 2015
Saturnine Clock, 2016, 72×57½in print
Alex Fischer, Saturnine Clock, 2015
Saturnine Clock detail
Alex Fischer, Saturnine Clock, 2015
Saturnine Clock mock install
Alex Fischer, Save Cave, 2016
Save Cave, one of ten 14×11in prints from photograph of oil paint and projected light
Alex Fischer, Save Cave B&WBlue, 2016
Save Cave, B&WBLUE, one of ten 14×11in prints from black & white photograph of oil paint and projected light
Alex Fischer, Season V, 2016
Season V, 72×48in oil and acrylic on panel
Alex Fischer, Season V detail, 2016
Season V detail
Alex Fischer, Season V install at Circuit Gallery, 2016
Season V install
Alex Fischer, Super Seed B&WBlue, 2016
Super Seed B&WBLUE, one of ten 14×11in prints from black & white photograph of oil paint and projected light
Alex Fischer, Super Seed, 2016
Super Seed, one of ten 14×11in prints from photograph of oil paint and projected light
Alex Fischer, Quick Rise Pizza Flower, 2016
Quick Rise Pizza Flower, one of ten 14×11in prints
Alex Fischer, Super Seed and Willow Fire, 2016
Super Seed & Willow Fire (each) one of ten 14×11in prints
Alex Fischer, thistlee keeper, 2016
Thistlee Keeper, one of three 21¼×17in prints
Alex Fischer, wave v, 2016
Wave V, one of ten 14×11in prints from photograph of oil paint and projected light
Alex Fischer, willow fire, 2016
Willow Fire, one of ten 14×11in prints from photograph of oil paint and projected light
Alex Fischer, with picabia's hand, 2016
With Picabia's Hand, one of ten 14×11in prints from photograph of oil paint and projected light
Alex Fischer, with picabia's hand (earlier), 2016
With Picabia's Hand(earlier), one of ten 14×11in prints from photograph of oil paint and projected light

Exhibition: Trace • Copy • Render

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

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
Circuit Gallery @ Prefix ICA
Trace • Copy • Render, Circuit Gallery @ Prefix ICA
Install of Season V, 2016
Trace • Copy • Render, Circuit Gallery @ Prefix ICA
Exhibition view at Circuit Gallery
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
Closeup of mixed media grid
Trace • Copy • Render, Circuit Gallery @ Prefix ICA
With Picabia's Hand as seen in exhibiton

Alex Fischer, 000000, 2015
000000, one of two 25½×20in prints
Alex Fischer, 0c, 2015
0c, one of two 25½×20in prints
Alex Fischer, 1b, 2015
1b, one of two 25½×20in prints
Alex Fischer, 1b install, 2015
1b mock install with vinyl
Alex Fischer, 1b install, 2015
1b mock install
Alex Fischer, 3, 2015
3, one of two 25½×20in prints
Alex Fischer, Beach Landing, 2015
Beach Landing exhibition AP
Alex Fischer, blue lemon, 2015
Blue Lemon, one of two 25½×20in prints
Alex Fischer, blue lemon detail, 2015
Blue Lemon detail
Alex Fischer, blue lemon install, 2015
Blue Lemon mock install
Alex Fischer, bowl, 2015
Bowl, one of two 25½×20in prints
Alex Fischer, brown lemon, 2015
Brown Lemon, one of two 25½×20in prints
Alex Fischer, Green Scrape, 2015
Green Scrape exhibition AP
Alex Fischer, ha, 2015
HA, one of two 14×21in prints
Alex Fischer, my my mind vs brain, 2015
My My Mind Vs Brain, one of two 20×16in prints
Alex Fischer, official, 2015
Official, a unique 40×60in print and a 90×60in print
Alex Fischer, official install, 2015
Official mock install
Alex Fischer, official install, 2015
Official detail
Alex Fischer, real safe myth, 2015
Real Safe Myth, one of two 10×9in prints
Alex Fischer, red lemon, 2015
Red Lemon, one of two 30×24in prints
Alex Fischer, untitled22, 2015
Untitled22, one of two 30×24in prints
Alex Fischer, was a fish, 2015
Was A Fish, 16×20in print
Alex Fischer, vii, 2015
VII, 60×48in print
VII 冯声贵 Feng Shui Gui
VII 冯声贵 Feng Shui Gui, 60×48in oil on canvas
VII 叶安 Ye An
VII 叶安 Ye An, 60×48in oil on canvas
VII 林建 Lin Jian
VII 林建 Lin Jian, 60×48in oil on canvas
VII 江明 Jiang Ming
VII 江明 Jiang Ming, 60×48in oil on canvas
VII 陈山 Chen Shan
VII 陈山 Chen Shan, 60×48in oil on canvas
VII 陈文波 Chen Wen Bo
VII 陈文波 Chen Wen Bo, 60×48in oil on canvas
VII 陈秋林 Chen Qiu Lin
VII 陈秋林 Chen Qiu Lin, 60×48in oil on canvas
Alex Fischer, VII 6000 Arch, 2015 Alex Fischer, VII 6000 Arch, 2015 Alex Fischer, VII 6000 Arch, 2015
VII 6000 Arch, an 82×48×40in acrylic and aluminium arch bolstering 240 6×4in acrylic paintings on Dura-lar
VII 6000 Arch is a sculptural display frame for 240 editions of a VII 6000.

Exhibition: 1, 7, and 6000

solo exhibition at O'Born Contemporary, spring 2015

(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 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.

1, 7, and 6000 at O'Born Contemporary
Install of VII, 2015
Install of VII 江明 Jiang Ming, VII 林建 Lin Jian, VII 陈文波 Chen Wen Bo, VII 陈秋林 Chen Qiu Lin. Each a 60×48in oil on canvas
Install of VII 叶安 Ye An, VII 冯声贵 Feng Shui Gui, VII 陈山 Chen Shan. Each a 60×48in oil on canvas
Detail of VII 陈文波 Chen Wen Bo
An 82×48×40in acrylic and aluminium arch bolstering 240 editions of VII 6000, each edition is a 6×4in acrylic paintings on Dura-lar
Detail of VII 6000 Arch
Detail of VII 6000 Arch
Detail of VII 6000 Arch
Detail of VII 6000 Arch
Individually framed editions from VII 6000
Editions 53 and 173 from VII 6000
Representation of all 6000 editions in VII 6000
Promotional mock install of VII series
Promotional mock install of VII series

Alex Fischer, angler, 2014
Angler, one of two 25½×20in prints
Alex Fischer, aviary, 2014
Aviary, one of five 30×27in prints
Alex Fischer, garden spell, 2014
Garden Spell, one of five 17×17in prints
Alex Fischer, garden spell framed, 2014
Garden Spell, one of five 17×17in prints
Alex Fischer, george's cuttlefish, 2014
George's Cuttlefish,
Alex Fischer, inside the faberge egg, 2014
Inside The Faberge Egg, one of two 25×20in prints
Alex Fischer, M, 2014
M, one of two 20×16in prints
Alex Fischer, moore, 2014
Moore, a 75×60in print and a 30×37½in print
Alex Fischer, moore, 2014 Alex Fischer, moore, 2014
Moore install
Alex Fischer, On Cotton, 2014
On Cotton, a 15×12in print
Alex Fischer, Parlor, 2014
Parlor, one of two 30×24in prints
Alex Fischer, Planet Print, 2014
Planet Print, one of two 17×17in prints
Alex Fischer, supersymmetry ii, 2014
Supersymmetry II, a 96×96in digital composite
Alex Fischer, supersymmetry ii detail, 2014
Supersymmetry II detail
Alex Fischer, supersymmetry ii, 2014
Supersymmetry II, a 96×96in screenprint on sintra
Alex Fischer, supersymmetry ii, 2014
Supersymmetry II, a 96×96in screenprint on plexi
Alex Fischer, wish you were here, 2014
Wish You Were Here, one of three 20×16in prints
Alex Fischer, wizard eyes, 2014
Wizard Eyes, one of three 12½×10in prints
Alex Fischer, a general impression, 2013
A General Impression, 11×8½in exhibition AP
Alex Fischer, ammonite, 2013
Ammonite, unique 27×15×40in mixed media sculpture. driftwood, clay, silicone, cotton, paint, glass, plastic, foam, acrylic, steel
Alex Fischer, Blood Bowl, 2013
Blood Bowl, exhibition AP
Alex Fischer, brush work, 2013
Brush Work, one of two 20×16in prints
Alex Fischer, disc, 2013
Disc, 96×48in exhibition AP
Alex Fischer, disc detail, 2013
Disc detail
Alex Fischer, disc, 2013
Disc install
Alex Fischer, feather feeder, 2013
Feather Feeder, 36&frac25×42;in exhibition AP
Alex Fischer, flesh fruit, 2013
Flesh Fruit, one of four 10½×8in prints
Alex Fischer, is water, 2013
Is Water, 24¼×40¾in exhibition AP
Alex Fischer, jelly portrait, 2013
Jelly Portrait, 27×25⅝in exhibition AP
Alex Fischer, jelly portrait install, 2013
Jelly Portrait mock install
Alex Fischer, lichen, 2013
Lichen, 35×35×75in mixed media sculpture. foam, plaster, printed fabric.
Alex Fischer, lichen, 2013
Lichen, detail photo of mixed media sculpture
Alex Fischer, loop (santiago), 2013
Loop (Santiago), 43×34in exhibition AP
Alex Fischer, markered market, 2013
Markered Market, unique 18×28½in print and two 12×19in prints
Alex Fischer, mouth, 2013
Mouth, 96×144in digital painting
Alex Fischer, mouth, 2013
Mouth mock install of 96×144in exhibition dye sub on textile.
Alex Fischer, nervous system preserver, 2013
Nervous System Preserver, 13¾×13¾×2¾in nylon 3d print
Alex Fischer, ready to ooze, 2013
Ready To Ooze, 63⅛×37⅝in exhibition AP
Alex Fischer, ready to ooze, 2013
Ready To Ooze install
Alex Fischer, seeding, 2013
Seeding, 21×14in exhibition ap
Alex Fischer, shellfish cells, 2013
Shellfish Cells, 9⅝×7⅝in exhibition AP
Alex Fischer, similar image object (b), 2013
Similar Image Object (b), 15¾×47¼ screenprint on mirror
Alex Fischer, similar image object (b) screen, 2013
Similar Image Object (b), screen for screenprint
Alex Fischer, untitled head, 2013
Untitled Head, one of two 24×21⅗in prints

Exhibition: Dry Pixels And Wet Molecules

solo exhibition at O'Born Contemporary, winter 2013

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

Seeding install
Install at O'Born Contemporary
Lichen install infront of Nervous System Preserver and Feather Feeder
Lichen detail
Lichen install
Lichen install infront of Feather Feeder and Shellfish Cells
Shellfish Cells install
Nervous System Preserver and Feather Feeder install
Feather Feeder install
Feather Feeder detail
Nervous System Preserver install from side
Nervous System Preserver install
Mouth install
Mouth detail
Mangrove Down and Mouth install
Mangrove Down install
Mangrove Down detail
Mangrove Down and Ammonite install
Ammonite install
Ammonite detail
Similar Image Object (b) install
Similar Image Object (b) install
Install at O'Born Contemporary
Ready To Ooze install
A General Impression install
Disc install
Disc detail
Install at O'Born Contemporary
Jelly Portrait install

Alex Fischer, adobe mask, 2012
Adobe Mask, one of three 27⅞×22½in prints
Alex Fischer, artists image, 2012
Artists Image, one of five 11¾×8⅝in prints
Alex Fischer, big blue, 2012
Big Blue, 2560×1440pixel digital composite
Alex Fischer, bow 2012
bow, one of three 15½×23⅝in prints
Alex Fischer, cell pattern, 2012
Cell Pattern, mock install of 96×96in print
Alex Fischer, clear greens, 2012
Clear Greens, mock install of 80×120in screenprint on plexi
Alex Fischer, daily, 2012
Daily, one of three 57½×40in prints
Alex Fischer, daily install, 2012
Daily, install
Alex Fischer, Deep Deep Under, 2012
Deep Deep Under, one of three 57½×40in prints
Alex Fischer, earlier, 2012
Earlier, one of three 16¾×12⅗in prints
Alex Fischer, jame, 2012
Jame, one of two 22½×15in prints
Alex Fischer, jame install, 2012
Jame mock install
Alex Fischer, mangrove down, 2012
Mangrove Down, 74¾×45¼in exhibition AP
Alex Fischer, mangrove up, 2012
Mangrove Up, 74¾×45¼in print
Alex Fischer, mangrove down install, 2012
Mangrove Down mock install
Alex Fischer, Seer, 2012
Seer, exhibition AP
Alex Fischer, straw man, 2012
Straw Man, 96×180in exhibition AP
Alex Fischer, supercollider, 2012
Supercollider, one of three 48×48in prints
Alex Fischer, up, 2012
Up, one of three 22×17½in prints
Alex Fischer, whale brain, 2012
Whale Brain, 30×20in prints

Exhibition: Beyond The Fall

solo exhibition at Galerie BAC, winter 2012

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

Island and Daily install
Island install
Daily install
Daily, Paradise, and Beyond The Fall install
Paradise install with vinyl
Paradise, and Beyond The Fall install
Good Grief and Blackfoot install
Adobe Mask detail
Adobe Mask and Myrrha install
Myrrha, Kind of Blue, and Aurora install
Kind of Blue, Aurora, and Cooks Cape install
Cooks Cape and Parrots install
Parrots install
Supercollider install

Exhibition: Beyond The Fall

solo exhibition at O'Born Contemporary, fall 2012
Purple Jesus, bow, Supercollider and Greens install
Greens vinyl install
Purple Jesus and bow install
Bluenose, Parrots, Myrrha, and Artists Image install
Beyond The Fall and The Infant and The Garden Hose install
Straw Man install
Straw Man, Cell Pattern, Beyond The Fall, and Purple Jesus install
Cell Pattern vinyl install
Aurora install

Alex Fischer, aurora, 2011
Aurora, one of five 12×12⅗in prints
Alex Fischer, aurora, 2011
Aurora, framed
Alex Fischer,
Batgirl, one of four 17×12in prints
Alex Fischer, beyond the fall, 2011
Beyond The Fall, one of three 43×64in prints
Alex Fischer, blackfoot, 2011
Blackfoot, one of five 15×9⅛in prints
Alex Fischer, blackfoot framed, 2011
Blackfoot framed
Alex Fischer, bluenose, 2011
Bluenose, one of four 15×11in prints
Alex Fischer, bluenose framed, 2011
Bluenose framed
Alex Fischer, island, 2011
Island, 48×24in exhibition AP
Alex Fischer, island framed, 2011
Island install at Angell Gallery
Alex Fischer, kind of blue, 2011
Kind Of Blue, one of five 11⅛×13⅛in prints
Alex Fischer, kind of blue install, 2011
Kind Of Blue mock install
Alex Fischer, myrrha, 2011
Myrrha, one of five 9⅞×7½in prints
Alex Fischer, paradise, 2011
Paradise, one of four 15×11in prints
Alex Fischer, parrots, 2011
Parrots, 60×84in exhibition AP
Alex Fischer, parrots install, 2011
Parrots install at Volta NY 2012
Alex Fischer, purple jesus 2011
Purple Jesus, one of five 13⅛×12¾in prints
Alex Fischer, purple jesus framed, 2011
Purple Jesus, framed
Alex Fischer, the infant and the garden hose, 2011
The Infant And The Garden Hose, 47in diameter exhibition AP
Alex Fischer, untitled gaze, 2011
Untitled Gaze, one of four 15×11in prints
W9 - Alex Fischer Artists Book, 2010

W9 – Alex Fischer

Produced in 2010 alongside Alex Fischer's inaugural exhibition with O'Born Contemporary. W9 survey's the first years of Fischer's artistic practice. Click image above for more views.

Published by O'Born Contemporary
Designed by Wassenaar [W9]
Printed and bound in Brampton, ON, Canada
ISBN: 985-4564-6979-02

Features

  • 21 high quality plates
  • Prismatic Wave: A conversation with Alex Fischer by Noel Rodo-Vankeulen
  • 92 pages
  • Edition of 500
  • Signed by the Artist

Demensions

  • 8×6×⅖ines

Materials

  • Perfect cut Bare Eska Board cover
  • Matte black foil stamp title
  • Milbank Linen Black Cloth wrap
  • 80LB silk paper (plates)
  • 60LB blue offset (interview)

$36.00 CADBuy Now

per book, + tax & shipping

Alex Fischer, artists retreat, 2010
Artists Retreat, one of five 16×14⅗in prints
Alex Fischer, artists retreat framed, 2010
Artists Retreat framed
Alex Fischer,
Beach House, exhibition AP
Alex Fischer, body of eris Alex Fischer, body of eris Alex Fischer, body of eris Alex Fischer, body of eris Alex Fischer, body of eris
Body Of Eris, 74×48×18in mixed media sculpture
Alex Fischer, bring home the bacon, 2010
Bring Home The Bacon, one of five 15×20in prints
Alex Fischer, cooks cape, 2010
Cooks Cape, 60×84in exhibition AP
Alex Fischer, dweller, 2010
Dweller, one of five 11⅖×9⅞in prints
Alex Fischer, ed, 2010
Ed, one of five 11×11in prints
Alex Fischer, figure head, 2010
Figure Head, one of four 57×55in prints
Alex Fischer, fungus philosopher, 2010
Fungus Philosopher, one of ten 9⅛×7⅞in prints
Alex Fischer, good grief, 2010
Good Grief, one of ten 22×16in prints
Alex Fischer, good grief framed, 2010
Good Grief framed
Alex Fischer, grandfather wreath, 2010
Grandfather Wreath, mixed media sculpture
Alex Fischer,
Ground exhibition AP
Alex Fischer, knight, 2010
Knight, mixed media sculpture
Alex Fischer, monster mash, 2010
Monster Mash, one of five 9⅛×7⅞in prints
Alex Fischer, Oregon Accidental, 2010

Oregon Accidental, 2010

  • Special Edition of 50
  • 20×15in print
  • 2in matte
  • 10.3 mil 192 gsm archival Epson Enhanced Matte paper
  • Signed by the Artist

$200.00 CADBuy Now

per edition, + tax & shipping

Alex Fischer, plans for a home, 2010
Plans For A Home, one of five 24×20½in prints
Alex Fischer, salt lake schulnik, 2010
Salt Lake Schulnik, one of five 13×12in prints
Alex Fischer, spider from venus, 2010 Alex Fischer, spider from venus, 2010 Alex Fischer, spider from venus, 2010
Spider From Venus, 33×13×16in mixed media sculpture
Alex Fischer, teen dream, 2010
Teen Dream, one of ten 11⅖×9⅞in prints
Alex Fischer, the invisible man returns, 2010
The Invisible Man Returns, 47⅞×32in exhibition AP
Alex Fischer, three fates, 2010
Three Fates, 60×92in exhibition AP
Alex Fischer,
Trouble On Volcano Sundae, one of five 16×14⅗in prints
Alex Fischer,
Trouble On Volcano Sundae framed
Alex Fischer, untitled greens, 2010
Untitled Greens, one of five 15×20in prints
Alex Fischer,
Venus, one of three 10⅗×7¾in prints

Exhibition: Smarter Today

solo exhibition at O'Born Contemporary, fall 2010

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

Article: Alex Fischer: Smarter Today

Article by Rachel Anne Farquharson, January 2011

Painting as a practice, before all other media, has undergone copious amounts of inspection from without, and introspection from within. This may be because, as critic and lecturer Caoimhim Mac Giolla Leith suggests, recent painting seems ‘to be characterised by a persistent refusal of its own self-containment,'1 a fitting statement given today's globalised and technologically progressive climate. Even more complex is the analysis of an artist practice which relies upon digital techniques and modes of production to create what is finally thought of as a painted work. Such is the case with Alex Fischer, whose recent show at O'Born Contemporary in Toronto speaks to a curatorial trend in the redefinition of the painted canvas within art's discourse. As the first solo exhibit hosted at the gallery's significantly more artworthy (re)location on Ossington Avenue, the pluralism inherent in the works of Smarter Today bespeaks a double bind of low culture in dialogue with high art that first resurfaced in the practices of post-modern painters like Neo Rauch (B. 1960) and David Salle (B. 1952).

Though the last decade has seen more than seven major international exhibitions in dialogue with painting as gesture and act, the theme of medium redefinition is not hackneyed in the capable hands of this twenty-four year old MVS student at the University of Toronto. By turns virtual maverick and sculptural visionary, Fischer outputs two-dimensional imagery with an object status that feels palpable. Figure Head, 2010, which bears down on the viewer at 140 x 145 cm, invites entry and interaction, the centrally located, dog-faced girl just grotesque and fragmented enough to evoke Francis Bacon. Bacon, who intended ‘to distort [the figure] far beyond the appearance, but in the distortion to bring it back to a recording of the appearance'2 finds a voice once more in the flurry of layers that both dis- and re-assemble Fischer's complex compositions. Figure Head draws upon the veritable archive of images that the internet has become, capturing a glimpse of today's epistemological development in the process. The artist's espousal of digital collage and illustration ‘allows [him] to visually interpolate resources'3 in a way that speaks to humanity's greater consciousness and, furthermore, to its very future. Quite simply, as a race we are careening towards an intersubjectivity that makes each of us a flesh-bound collage of experience, landscapes, and concepts.

This is perhaps the most salient point that Fischer advances with a piece like Untitled Greens, 2010, a moderately sized work that takes as its conceptual and physical ground a photograph of a forest by Traci Matlock and Ashley MacLean. The image has been altered such that its tone and formal nature combine the Real according to Hal Foster with an ephemeral quality that shrouds most people's childhood memories. The idea that forests are vehicles for strange and mythological happenings is one transmitted from generation to generation in many cultures. Fischer uses the accumulation of memory, belief, and narrative to make a statement about humankind. The near dissolution of forest trees contrasted against the appearance of ghoulish faces grafted to their trunks visualizes the interplay between the real and the mystical that the artist is trying to access. Although Fischer has spoken of his own upbringing in the Ontario countryside as a cognitive influence, the images he employs already have a registered meaning that he maintains is important to acknowledge. In appropriating the work of other artists, Fischer always attempts to gain a good grasp of both the context in which the image was created and the nature of the artist's practice itself. Thus, once the artist found Matlock and MacLean on Flickr, he followed their practice and artistic output for several years prior to starting a dialogue with them and their work.

Finally, it is the rigid duality of mind and body as a primary mode of existing in the world that Fischer rejects, using the phenomenology of perception suggested by philosopher Maurice Merleau-Ponty to advance his own novel conclusions. Consider a populace whose foundation is the collective embodiment of each other's personalities and souls. Just as figures are iterated in Fischer's art through the superimposition of images onto each other, each person is philosophically a summation of his or her cohabitants. The large scale work, Three Fates, 2010, is a reflection of the syncretism that the artist holds responsible for the creation of his body of illustrated subjects and characters. The largely barren urban landscape here depicted is not as bleak as conventional subjectivity would have us believe—to Fischer, the diluted palette is more peaceful than forbidding. In this future world, subjectivity is no longer useful therefore evolutionary theory would demand that it atrophies like a muscle in disuse, allowing us to live in a relatively neutral, colourless culture. Though the landscape is only host to two people, the artist conceives each person as a collective of thousands. Actually, the composition is very crowded, laughed Fischer when questioned about the piece. What is obvious to him seems ironic given the few objects to behold in many of the works in Smarter Today.

Three Fates is evidence of a recent challenge Fischer has created for himself: to be in compositional dialogue with the traditional diptych/triptych. Bisecting the large proscenium arch arrangement in this piece is a totem pole, imbued with enough life force to be considered the third fate in the image's narrative. Other possibilities for this third figure are the viewer or, interestingly, the art work positioned directly across from Three Fates in the gallery. A concerted curatorial choice by the artist and O'Born Contemporary director Natalie MacNamara, the opposing image is the tripartite Cooks Cape, 2010. Thus, the two large works were made to face each other to ignite a conversation about their similar obedience of an art historical compositional precedent. The challenge, or as Fischer describes it, risk in working with the diptych or triptych format is allowing an image to exist when different realities are positioned to reflect each other—the adjacent two/three sides expose the fact that their subjectivities do not necessarily agree. There is a risk in getting lost in the work, as if the worlds are facing mirrors wherein your reflection becomes so dislocated that it can actually disappear. Theoretically, the totem in Three Fates acts as the joint in a mirror between the two subject bodies, putting both or either in danger of extinction. Frankly, in an imagined world where subjectivity has been eliminated and only collective identities exist, the transformation of material bodies to virtual whispers seems completely à propos.

Originally posted on artbarrage.com

1. Caoimhim Mac Giolla Leith, Surveying Contemporary Painting, Circa, No. 109, (2004): 58
2. David Sylvester, Interviews with Francis Bacon, (London: Thames & Hudson,1993), 40
3. Alex Fischer, First Year Practice Draft, 15 November, 2010


Alex Fischer, crewdson landscaping and design, 2009
Crewdson Landscaping And Design, one of five 17×17in prints
Alex Fischer, fischer's garden, 2009
Fischer's Garden, one of five 17×17in prints
Alex Fischer, hilde-brand graffiti, 2009
Hilde-brand Graffiti, one of two 36×54in prints
Alex Fischer, julia waits at kims crag, 2009
Julia Waits At Kims Crag, one of five 17×17in prints
Alex Fischer, our ground, 2009
Our Ground, one of three 60×60in prints
Alex Fischer, polyester boat, 2009
Polyester Boat, one of five 17×17in prints
Alex Fischer, santiago sara brown, 2009
Santiago Sara Brown, one of five 17×17in prints
Alex Fischer, safarti's walk, 2009
Safarti's Walk, one of five 17×17in prints
Alex Fischer, sarsen for the mother of the bride, 2009
Sarsen For The Mother Of The Bride, one of five 17×17in prints
Alex Fischer, south west esteem, 2009
South West Esteem, one of four 36×54in prints
Alex Fischer, terra cape, 2009
Terra Cape, one of five 17×17in prints
Alex Fischer, tethered to soth, 2009
Tethered To Soth, one of five 17×17in prints
Alex Fischer, untitled (stars 6), 2009
Untitled (stars 6), one of four 6½×10¼in prints
Alex Fischer, we'll watch twin peaks, 2009
We'll Watch Twin Peaks, one of three 36×54in prints
Alex Fischer, williams bridge, 2009
Williams Bridge, one of five 17×17in prints
Alex Fischer, fallow the city has fields, 2008
Fallow The City Has Fields, one of five 4½×2¾in prints
Alex Fischer, jeff wall dug me a mountain, 2008
Jeff Wall Dug Me A Mountain, one of five 36×54in prints

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Education

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

Sponsors

Made possible with the support of...

BNY Mellon, Donald O'Born, Leith Wheeler, Shrigley Battrick, Statoil, TD Bank Group.

The Ontario Arts Council