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Alex Fischer 2021 Suspect
Alex Fischer 2021 Suspect detail
Alex Fischer 2021 Sour Easter
Alex Fischer 2021 Sour Easter
Alex Fischer 211111 Sour Easter BW
Alex Fischer 211012 Day Greys And Golds
Alex Fischer 211012 Day Greys And Golds On A Fuse Box
Alex Fischer, 211118 Ocean Fountain
Alex Fischer, Our Progress, 210701
211011
Alex Fischer 211020 landscape
Alex Fischer 211020 landscape
Alex Fischer, Landscape, 210104

In Situ with Polymetis, Harbin Charter Mall, China
August 2021

20'x60' polymer, steel, lights. 18'x9' LED Display.
1 Hour animated video loop on view through 2022.

In summer 2021 Canada Goose comissioned Alex Fischer and artist duo Polymetis to create an installation for a 20'x60' public window in the heart of Harbin China. As with all projects we considered the space, it's construction, and the greater context of the city and the surrounding landscapes. Historically, in ancient China, "Situ" was one of the highest ranking government offices, with an original translation meaning Administrator of Land.

This works presence in an urban landscape has it flanked by billboard graphics, sidewalks, and major daily traffic. With repeat passings likely, the animation, a monolith of light on a 1 hour loop, appears as an assortment of abstract landscapes. While there may be more depth found in repeat or longer viewings, the content of this animation comes across at any glance. The scenes transition at the pace of deep slow breaths, a steady calm and effervescent rhythm of rivers, fields, and festivals.

In Situ, 15 sec animation segment
Alex Fischer, Tailwind, 210813
Alex Fischer, Gogh Geyser, 201201
Alex Fischer, January 6, 210411
Alex Fischer, Dive, 201214
Alex Fischer, Garden, 210516
Alex Fischer, Demons, 210208
Alex Fischer, Sender, 200821
Alex Fischer, Theseus, 210708
Alex Fischer, Totem Path, 210801
Alex Fischer, Cell, 201215
Mandala, 190501, 90in ⌀ / 2286㎜ ⌀ print
Alex Fischer, The Green Knight, 210921
Alex Fischer, The Green Knight, 210922
Alex Fischer, The Green Knight, 210923
Alex Fischer, 210506 100 10 Room 15 10
Alex Fischer, 210503 100 9 Room 15 9
Alex Fischer, 210502 100 8 Room 15 8
Alex Fischer, 210501 100 7 Room 15 7
Alex Fischer, 210430 100 6 Room 15 6
Alex Fischer, 210429 100 5 Room 15 5
Alex Fischer, 210429 100 4 Room 15 4
Alex Fischer, 210428 100 3 Room 15 3
Alex Fischer, 210428 100 2 Room 15 2
Alex Fischer, 210427 100 1 Room 15 1
Alex Fischer, Upon the Sea
Alex Fischer, Story Tree
Alex Fischer, Untitled, 200109
Alex Fischer, The Cat Bat Lobster Moth and Drowning Man, 200217
Alex Fischer, elephant in the rain, 200730
Alex Fischer, Hurricane of Blood, 200720
install 171224
Untitled, 171224, 75×60″ / 1910×1524㎜ print
Alex Fischer, untitled, 200419
Alex Fischer, untitled, 200302
Alex Fischer, Studio Waves, 200528
Untitled, 191219, 75×60″ / 1910×1524㎜ print
Alex Fischer, Coronas, 200309

Bending Towards the Sun, YYZ, Toronto
April 2019

YYZ 40 Exhibition, Bending Towards the Sun features the work of Frances Adair, Grayson Alabiso-Cahill, JD Banke, Liam Crockard, Patrick Cruz, Stan Douglas, Alex Fischer, Hanna Hur, Aaron Jones, Laurie Kang, Garrett Lockhart, Trevor Mahovsky & Rhonda Weppler, Jenine Marsh, Darby Milbrath, Susy Oliveira, Walter Scott, Shannon Garden Smith, Jana Sterbak, and Sean Stewart

Curated by Veronika Ivanova, “Bending Towards the Sun” is a fundraising exhibition in support of YYZ. “Bending Towards the Sun” celebrates YYZ Artists’ Outlet—their growth and transformation over the past 40 years, and their resilience and ability to thrive in a climate increasingly hostile to cultural work.

Bending Towards the Sun</em>, YYZ, Toronto, Canada 2019
Bending Towards the Sun</em>, YYZ, Toronto, Canada 2019
Bending Towards the Sun</em>, YYZ, Toronto, Canada 2019
Bending Towards the Sun</em>, YYZ, Toronto, Canada 2019
Bending Towards the Sun</em>, YYZ, Toronto, Canada 2019
Super Seed B&WBlue, 160829, 14×11″ / 356×280㎜ print
As The Sea Curves, 180310, 35×28″ / 890×712㎜ print
Casting A Wide Net, 180515, 90×60″ / 2290×1527㎜ print
Untitled, 191229, 15000×12000px,50×40″ / 1270×1016㎜ print
Untitled, 200202, 30000×24000px
It'll Pass, 191202, 22031×40056px, 85×156″ / 2180×3969㎜ print
Alex Fischer, 200915 untitled
Alex Fischer, untitled, 200914
Untitled, 191102, 75×60″ / 1910×1524㎜ print
Alex Fischer, untitled, 200214
Looking For A Bridge, 191001, 24×36″ / 914×610㎜ print
Spring Seizer, 190403, 30×24″ / 763×610㎜ print
Fireside Chat Window, 190515, 30263×30263px, 90×90″ / 2288×2288㎜ print
Stalker, 190415, 62×48″ / 1580×1220㎜ print
Afternoon Oppression, 190310, 62×44″ / 1575×1118㎜ print
Weekend Painting, 190126, 40×32″ / 1016×813㎜ print
>On Wire, 191202, 22031×40056px, 85×156″ / 2180×3969㎜ print
It'll Pass, 191202, 22031×40056px, 85×156″ / 2180×3969㎜ print
Beside Two Hemispheres Called A Brain, 190724, 74×60″ / 1881×1526㎜ print
Elephant, 191026, 34¾×36¾″ / 1164×931㎜ print
The Fighter, 180118, 20000×16000px, 30×24″ / 763×610㎜ print
Mask, 181201, 44×34″ / 1118×865㎜ print
Mask, 181202, 44×34″ / 1118×865㎜ print
Mask, 181126, 44×34″ / 1118×865㎜ print
Mask, 181129, 44×34″ / 1118×865㎜ print
Portrait, 190413, 12000×9600px, 40×32″ / 1016×813㎜ print
Portrait, 190219, 40×32″ / 1016×813㎜ print
Portrait, 190105, 12000×9600px, 40×32″ / 1016×813㎜ print
Derain Forest, 180115, 24×36″ / 610×915㎜ print
Henri's Well, 180121, 36×48″ / 916×1228㎜ print
Nature Sounds, 180611, 20000×16000px, 45×36″ / 1144×915㎜ print
On A Page About A Paper, 180127, 30×36″ / 763×916㎜ print
(On A Page About A Paper, 180127, 30×36″ / 763×916㎜ print), (Stock Pile, 171130, 60×90″ / 1531×2296㎜ print)
Stock Pile, 171130, 60×90″ / 1531×2296㎜ print
The Skeleton and Soul of Peter's House, 180119, 8000×12000px, 20×30″ / 508×762㎜ print
Dark Web, 181113, 30×20″ / 762×508㎜ print
That Was A Strange Dream, 180925, 80×60″ / 2032×1524㎜ print
Horse Misunderstanding, 180226, 10666×16000px, 14×21″ / 357×535㎜ print
Those Red Feelings, 180130, 18×14″ / 474×379㎜ print
(Feather Feeder, 130127), (There in the bottom of the pit sits Theseus and will ever sit (Night and Day), 180719)
Proscenium, 190725, 144×60″ / 3658×1524㎜ print
Tonight And Day (Summer), 180715, 92×108″ / 2337×2743㎜ print
Tonight And Day (Winter), 180715, 92×108″ / 2337×2743㎜ print
Totem For A Future, 180715, 82×82″ / 2082×2082㎜ print
A Rose Is A Rose Is A, 171130, 12×8″ / 304×214㎜ print
Corel Bleaching, 171222, 36×24″ / 915×610㎜ print
Out Stretched Palm, 171130, @ 20×16″ / 508×406㎜ print
Lacunal Heights, 171130, 90×60″ / 2286×1524㎜ print
Banana Plumage, 170401, 9907×7926px, 9×7″ / 229×183㎜ print
Banks See Banana Man, 171130, 90×60″ / 2286×1524㎜ print
Bather's Blues, 171130, mock print
untitled, 170401, 3895×3116px, 11×8″ / 276×224㎜ print
Forage Through Absurdity With No Great Certainty To Find Paradise Is Other People, 171130
Between You and Me, 171130, 5464×4371, 18×14″ / 463×370㎜ print
Between Steps, 171130, 14×11″ / 355×279㎜ print
untitled, 180914
Blood Bowl, 110609, 20000×16000px, 48×38″ / 1221×977㎜ print
Canal Et Tu, 171130, 3769×5372px, 16×24″ / 429×612㎜ print
Drawing For Kids, 170419, 12000×18000px, 40×60″ / 1016×1524㎜ print
Jamaraat Bridge, 171130, 120×180in, 3048×4572㎜ print
Season V Equitable Install
Season V, 160503, 72×48″ / 1829×1219mm paint on panel
On, 170401, 20×16¼″ / 508×412㎜ print
Chameleon Pro, 170401, 20500×16000px, 20×16″ / 520×406㎜ print
Portrait, 170401, 2520×1960px, 9×7″ / 229×178㎜ print
Mirror Projection, 170401, 2520×1960px, 9×7″ / 229×178㎜ print
Frankenstein, 170317, 2700×2100px, 9×7″ / 229×178㎜ print
Tango, 170401, 2520×1960px, 9×7″ / 229×178㎜ print
Isle E, 170401, 9×7″ AP
Red Centre, 170401, 5640×4387px, 18×14″ / 458×356㎜ print
Der Hirte, 171130, 75×60″ / 1910×1528㎜ print
Frankenstein's Real, 171130, 84×60″ / 2134×1524㎜ print
Severen, 171203, 9900×7650px, 44×34″ / 1118×864㎜ print
Alex, 171130, 44×34″ / 1118×864㎜ print
Andrew, 171130, 44×34″ / 1118×864㎜ print
Baasir, 171130, 44×34″ / 1118×864㎜ print
Baily, 171130, 44×34″ / 1118×864㎜ print
David, 171130, 44×34″ / 1118×864㎜ print
Emily, 171130
Holly, 171130, 44×34″ / 1118×864㎜ print
Jason, 171130, 44×34″ / 1118×864㎜ print
Justin, 171130, 44×34″ / 1118×864㎜ print
Lana, 171130, 44×34″ / 1118×864㎜ print
Richard, 171203, 44×34″ / 1118×864㎜ print
Sam, 171203, 44×34″ / 1118×864㎜ print
Mask 0, 171130, 12×9″ / 305×229㎜ print
Mask 1, 171130, 21333×16000px, 12×9″ / 305×229㎜ print
Flood After Flood, 171206, 40×60″ / 1016×1524㎜ print
Flood After Flood, 171203, 40×60″ / 1016×1524㎜ print
Bramble Walker, 171130, 60×40″ / 1016×1524㎜ print
Pale Rythem, 170401, 15000×12000px, 50×40″ / 1270×1016㎜ print
Lowlands, 171130, 14826×14826px, 28×28″ / 712×712㎜ print
Nettle Keeper, 171130, 21×15″ / 534×381㎜ print
Prometaphase, 171130, 52×60″ / 1321×1524㎜ print
Sea I, 171203, 75×60″ / 1909×1527㎜ print
Window Licker, 171130, 9×7″ / 229×178㎜ print
Official, 140201, 22000×14666px, 90×60″ / 2290×1527㎜ print
(Official 140201), (World-tulpa 171130)
World-tulpa, 171130, 75×60″ / 1905×1524㎜ print
Starnose, 171203, 57½×40″ / 1460×1016mm mixed media
Tangled Bank, 171203, 36×24″ / 918×612mm painting on canvas
Who's Counting, 170401, 40×31″ / 1017×788㎜ print

18th Annual RBC Painting Competition, The Power Plant, Toronto
September 2016

The fifteen RBC Canadian Painting Competition finalists are selected by a distinguished jury from the Canadian art community to represent the emerging voices that explore, challenge, and embrace the nature of the medium.

Finalists of 2016's RBC Canadian Painting Competition are: Wallis Cheung (Toronto), Alex Fischer (Toronto), Nika Fontaine (Berlin), Cameron Forbes (Saskatoon), Stephanie Hier (Toronto), Brian Hunter (Winnipeg), Hanna Hur (Los Angeles), Brian Kokoska (New York), Andrew Maize (Lunenburg), Keita Morimoto (Toronto), Justine Skahan (Gatineau), M.E. Sparks (Vancouver), Angela Teng (Vancouver), geetha thurairajah (Sackville), and Ambera Wellmann (Guelph).

RBC Painting Competition, The Power Plant, Toronto, Canada 2016
RBC Painting Competition, The Power Plant, Toronto, Canada 2016
Pet, Casper and Hesperie, 160622, 48×54″ / 1219×1371mm paint on canvas
A Malinche Double, 160825, 3056×2400, 14×11″ / 356×280㎜ print
Snakes and Lobbies, 170401, 2520×1960px, 9×7″ / 229×178㎜ print
Dip, 160419, 6100×4796px, 14×11″ / 356×280㎜ print
Look Out Lucinda, 160804, 6234×4898px, 14×11″ / 356×280㎜ print
Save Cave B&W Blue, 160828, 3478×2732px, 14×11″ / 356×280㎜ print
Willow Fire, 160828, 14×11″ / 356×280㎜ print
With Picabia's Hand, 160828, 3520×2765px, 14×11″ / 356×280㎜ print
Milne's Crossing, 161015, 2662×3388px, 11×14″ / 280×356㎜ print
Ghost Horse, 16000×16000px, 60×60″ / 1528×1528㎜ print
Iron Lung, 140319, 60×90″ / 1524×2286㎜ print
Day Outside, 160129, 20000×16000px, 30×24″ / 763×610㎜ print
Night Outside, 160129, 20000×16000px, 30×24″ / 763×610㎜ print
In a Dream about a Ghost, 160505, 17320×13855px, 72×57½″ / 1833×1466㎜ print
Thistlee Keeper, 140126, 5183×4146px, 17×13in, 439×351㎜ print
Lemon Keeper, 171130, 19×25″ / 483×635㎜ print
Let Me Play You My Burning Concerns, 171130, 26×21″ / 673×539㎜ print
Saturnine Clock, 140203, 18831×15064px, 75×60″ / 1913×1530㎜ print

The Collective, O'Born Contemporary, Toronto
April - May 2015

A survey of the collected artists exhibited at O'Born Contemporary.

The Collective, O'Born Contemporary
The Collective, O'Born Contemporary
The Collective, O'Born Contemporary

1, 7, and 6000, O'Born Contemporary, Toronto
February 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.

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, O'Born Contemporary, Toronto, 2016
1, 7, and 6000, O'Born Contemporary, Toronto, 2016
1, 7, and 6000, O'Born Contemporary, Toronto, 2016
1, 7, and 6000, O'Born Contemporary, Toronto, 2016
VII 6000 Arch, 2015, A 82×48×40in acrylic and aluminium arch bolstering two hundred and forty 6×4in painted sheets.
1, 7, and 6000 install at O'Born Contemporary
1, 7, and 6000 install vii 陈文波 evening
1, 7, and 6000 concept sketch
1, 7, and 6000 concept sketch
1, 7, and 6000 install at O'Born Contemporary
VII Alex Fischer, 2015, 60×48″ print
1, 7, and 6000, O'Born Contemporary, Toronto, 2016
VII 冯声贵 Feng Shui Gui, 2015, 60×48″ oil on canvas
VII 叶安 Ye An, 2015, 60×48″ oil on canvas
VII 林建 Lin Jian, 2015, 60×48″ oil on canvas
VII 江明 Jiang Ming, 2015, 60×48″ oil on canvas
VII 陈山 Chen Shan, 2015, 60×48″ oil on canvas
VII 陈文波 Chen Wen Bo, 2015, 60×48″ oil on canvas
VII 陈秋林 Chen Qiu Lin, 2015, 60×48″ oil on canvas
(VII 江明 Jiang Ming, 2015),(VII 林建 Lin Jian, 2015),(VII 陈⽂文波 Chen Wen Bo, 2015),(VII 陈秋林 Chen Qiu Lin, 2015),(VII 冯声贵 Feng Shui Gui, 2015),(VII 叶安 Ye An, 2015),(VII 陈⼭山 Chen Shan, 2015)

Simulators, Angell Gallery, Toronto
February 21 to March 22, 2014

ANGELL GALLERY is pleased to present SIMULATORS II, an exhibition of new digital art featuring nine artists — Napoleon Brousseau, Mitchell F. Chan, Alex Fischer, Francoise Gamma, Brenna Murphy, Aamna Muzaffar, Rafael Ochoa, Geoffrey Pugen and Tobias Williams. The exhibition is up in the east and west galleries from February 21 to March 22, 2014. A related exhibition by Philippe Blanchard will run concurrently in the Project Room.

In recent critical discussion, the phrase Post-Internet art has surfaced to replace the term New Media, reflecting the now ubiquitous nature of digital technology. Now that the Internet has shifted from novelty to normalcy, Post-Internet artists are focusing less on the means and more on the ends, creating work that couples virtual reality with a strong material presence. The art world’s embrace of this new phase was signaled by the first auction dedicated exclusively to digital art, staged by renowned auction house, Phillips, in October of 2013. Angell Gallery has been at the forefront of promoting this new wave of digital practice, and in SIMULATORS II the gallery showcases artists who represent the exciting diversity of this rapidly expanding field.

[...]

Alex Fischer, a self-styled “sociologist of internet culture”, combs the web for diverse images drawn from art, science and technology. These he twists and turns, mows and mulches, to produce brand new entities in the forms of digital paintings and sculptures that tease us with hints at narrative possibilities while straddling the borders of abstraction. [...]

Simulators II, Angell Gallery, Toronto, 2016
Simulators II, Angell Gallery, Toronto, 2016
Simulators II, Angell Gallery, Toronto, 2016
Simulators II, Angell Gallery, Toronto, 2016
Is Water, 130611, 9690×16320px, 24¼×40¾″ / 603×1016㎜ print

Translation, O'Born Contemporary, Toronto
Curated by Rachel Anne Farquharson
March 2013

A translation can be many things: It can be a conversion or transformation from one physical form to another, it can be a progression in biological stage, and it can even be, in the most geometric of terms, the movement of a shape along an axis. Within art's pedagogical premise, the most apt definition for translation might be the rendering of something into one's own language, semiotically or aesthetically. Viewed through this lens, geographies that are foreign, ideologies that are suspect, and modes of technology to which we find ourselves unwittingly beholden need a level plane upon which to exist in globalized society. The arrow of understanding, as Translation permits, rarely points in one direction, however. The exhibition provides recourse to how translations can also abet the fetishization of objects, enabling simple acts to suddenly become estranged.

Each artist in Translation confronts the banal, at once making it pliable to our understanding and relocating it in the realm of the monumental through inherently indexical material. Alex Fischer reappropriates digital imagery culled from today's archival internet abyss, exacting the terror of the sublime through an exposition of our dissolved communion with nature. As the artist's high-resolution content surpasses any interface capable of displaying the work in its "natural state", it is revealed that human vision has entered into stalemate with contemporary pixel acuity and printing technology.

[...]

In conversation, the artists in this exhibition aim to translate aspects of life, either by material or digital processes. Transformed in these ways, the landscapes of social, psychic, cultural, physical and political content breach the boundaries of ordinary experience, inciting their audience to new personal and collective understanding.

Translation, O'Born Contemporary
Translation, O'Born Contemporary
Translation, O'Born Contemporary
Translation, O'Born Contemporary
Translation, O'Born Contemporary
Earlier, 110909, 16¾×12⅗″″ / 427×320㎜ print
Beach Landing, 150219, 22000×15714px, 84×60″ / 2141×1529㎜ print
Untitled22, 140611, 20×16in, 508×406㎜ print
000000, 150611, 20000×16000px, 25½×20″ / 635×508㎜ print
0c, 140627, 5718×4575px, 23×19″ / 605×484㎜ print
1b, 141014, 7500×6000px, 25½×20″ / 635×508㎜ print
1b, 141014, 7500×6000px, 25½×20″ / 635×508㎜ print
3, 141203, 20000×16000px, 75×60″ / 1910×1528㎜ print
Blue Lei, 150913, 11610×9232px, 20×15″ / 508×381㎜ print
Bowl, 131211, 26×21″ / 674×539㎜ print
Green Scrape, 140131, 4309×3447px, 13×10″ / 331×265㎜ print
Real Safe Myth, 110608, 18108×16000px, 48×42″ / 1220×1078㎜ print
Brown Lemon, 140825, 9948×7958px, 16×12″ / 407×326㎜ print
My My Mind Vs Brain, 140825, 5086×4069px, 20×16″ / 509×407㎜ print
Red Lemon, 141216, 30×24″ / 762×610㎜ print
Brawl, 131211, 20000×16000px, 60×48″ / 1525×1220㎜ print
Moore, 131029, install mockup
Moore, 131029, 19920×15936px, 75×60″ / 1909×1527㎜ print
Garden Spell, 140313, 16000×16000px, 17×17″ / 433×433㎜ print
Was A Fish, 150108, 7500×6000px, 20×16″ / 508×406 print
(Was A Fish, 150108), (Brush Work, 110127)
Rocinante and Blue Rider, 140714, 75×60in, 1910×1528㎜ print
Rocinante and Blue Rider, 140714, 60×48″, 1524×1219㎜ print
Brush Work, 110127, 20000×16000px, 60×48″ / 1525×1220㎜ print
Angler, 131219, 8870×6771px, 20×16″ / 533×407㎜ print
M, 140829, 20000×16000px, 22×18″ / 572×458㎜ print
Summer Fleece, 141014, 7500×6000px, 25×20″ / 635×508㎜ print
Disc, 130829, 98×48″ / 2438×1218㎜ print
Jelly Portrait, 130322, 27×25⅝″ / 686×653㎜ print
Nervous System Preserver, 2013, 13¾×13¾×2¾in nylon 3d print
Inside The Faberge Egg, 140308, 20000×16000px, 60×48″ / 1525×1220㎜ print
Aviary, 140308, 9587×8629px, 30×27″ / 763×687㎜ print
On Cotton, 120918, 21344×16008px, 64×48″ / 1628×1221㎜ print
Parlor, 140208, 20000×16000px, 30×24″ / 763×610㎜ print
Planet Print, 141231, 7680×7680px, 26×26″ / 661×661㎜ print
Jame, 110909, 7606×5070px, 22½×15″ / 572×381㎜ print
Jame, 110909, 7606×5070px, 22½×15″ / 572×381㎜ print
(Bluenose, 110516), (Wizard Eyes, 131216)
Bluenose, 110516, 4643×3407px, 15×11″ / 382×280㎜ print
Wizard Eyes, 131216, 3264×2612px, 13×10″ / 345×276㎜ print

Beyond The Fall, O'Born Contemporary, Toronto
October 18 – November 16, 2013

Alex Fischer's latest body of work 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.

Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013
Dry Pixels and Wet Molecules, O'Born Contemporary, Toronto 2013

Guest Room, p|m gallery, Toronto
September 2013

An extensive group show and fundrasier for ArtBarrage

Flesh Fruit, 120821, 2100×1600px, 10½×8″ / 267×203㎜ print
Jewel Fruit, 120907, 2100×1600px, 10½×8″ / 267×203㎜ print
Markered Market, 131022, 7010×11100px, 18×28″ / 458×725㎜ print
Untitled Head, 130513, 22000×19800px, 14×13″ / 378×340㎜ print
Up, 110909, 75×60″ / 1910×1528㎜ print
A General Impression, 130513, 3300×2550px, 11×8½″ / 279×216㎜ print
Feather Feeder, 130127, 13000×15000px, 36×42″ / 925×1067㎜ print
Mouth, 121009, 33750×49275px, 100×146″ / 2544×3714㎜ print
Greens, 120111, 80×120″ / 2032×3048㎜ print
Cell Pattern, 100422, 97×97″ / 2464×2464㎜ print
Similar Object (b), 2013, 15¾×47¼ screenprint on mirror
Ready To Ooze, 120320, 63⅛×37⅝″ / 1608×958㎜ print
Shellfish Cells, 130130, 15000×12000px, 9⅝×7⅝″ / 244×195㎜ print

Alex Fischer, VOLTA NY, New York City
March 2012

A solo booth presentation at VOLTA NY 2012 edition.

Beyond The Fall, O'Born Contemporary, Toronto 2012
Beyond The Fall, O'Born Contemporary, Toronto 2012
Beyond The Fall, O'Born Contemporary, Toronto 2012

Beyond The Fall, O'Born Contemporary, Toronto
February 4 – March 10, 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.

Beyond The Fall, O'Born Contemporary, Toronto 2012
Beyond The Fall, O'Born Contemporary, Toronto 2012
Beyond The Fall, O'Born Contemporary, Toronto 2012
Beyond The Fall, O'Born Contemporary, Toronto 2012
Beyond The Fall, O'Born Contemporary, Toronto 2012
Beyond The Fall, O'Born Contemporary, Toronto 2012
Beyond The Fall, O'Born Contemporary, Toronto 2012
Beyond The Fall, O'Born Contemporary, Toronto 2012
Beyond The Fall, O'Born Contemporary, Toronto 2012
Beyond The Fall, O'Born Contemporary, Toronto 2012

Beyond The Fall, Galerie BAC (Bigué Art Contemporain), Montréal
May 2012

Galerie BAC, Bigué Art Contemporain est heureuse de vous présenter la 1ère exposition solo Montréalaise de l’artiste Torontois, Alex Fischer. Cette exposition intitulée « Beyond the Fall » sera présentée du 9 au 26 mai 2012.

Alex Fischer offre une vue humaine sur des scènes futuristes; une vue qui explore des idéologies et des projections sur une société ayant un regard sur l’art contemporain.

Composant ses personnages et ses paysages avec un assemblage de visuel photographique, Fischer garde toujours en tête que l’idée du futur est inévitable auprès des gens et il maintient, dans ses images, la faiblesse et la susceptibilité de notre état.

Les sujets et personnages de ses œuvres sont une réflexion de syncrétisme. Leur identité extérieur est imposé, ils sont hétérogène, mêlé à un environnement non-conscient mais toutefois, les sujets peuvent être vue vivant dans un monde post-structural par le voyeur.

Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Beyond The Fall, Galerie BAC, Montréal 2012
Supercollider, 110619, 14000×14000px, 48×48″ / 1220×1220㎜ print
Aurora, 110504, 4200px×4200px, 12×12⅗″ / 305×320㎜ print
Purple Jesus, 110511, 3145×3048px, 13×12″ / 333×323㎜ print
Seeding, 120608, 8942×5961px, 21×14″ / 534×356㎜ print
Artists Image, 111017, 2835×2079px, 11¾×8⅝″″ / 300×220㎜ print
Straw Man, 110222, 21600×40500px, 96×180″ / 2438×4572㎜ print
Big Blue, 120807, 9000×16000px, 20×36″ / 515×915㎜ print

Simulators, Angell Gallery, Toronto
November 2012

ANGELL GALLERY is pleased to present SIMULATORS, an exhibition showcasing new work by eight artists who are at the forefront of contemporary digital art practices — Philippe Blanchard, David Clarkson, Alex Fischer, Brianna Lowe, Alex McLeod, Rafael Ochoa, Jon Rafman and Jillian Ross. The exhibition is on throughout the gallery from November 3 to December 1, 2012. An opening reception will be held on November 3, 1:00 – 4:00 PM. Digital technology has created a revolution in the art world, spawning the first new medium to arise since the birth of the artists' videos in the 1960s. Encompassing an astonishingly wide range of approaches, digital art is now exhibited and collected by major museums, and is sought after by collectors worldwide. Angell Gallery has been a leader in promoting digital art practices, and the artists in Simulators demonstrate the varied possibilities of this new medium, which as a creative tool is both demanding and limitless. Using software with the dexterity with which painters traditionally wielded the brush, the artists in Simulators create digital paintings, videos and animations that intrigue, inspire and engage. The featured artists are each recognized for their unique contributions to this developing medium.

[...]

Alex Fischer reconfigures art world images sampled from the web to construct richly layered, painterly landscape and figural compositions that belie the means of their creation. Ranging from Romantic solitary wanderers to composite faces that suggest a cyber-age Bosch, Fischer's expressive mash-ups are held together by his canny sense of colour and composition. The Toronto-based Fischer graduated from York University with a BFA in Visual Arts, and is represented in noted collections. His work has been featured in Black/Flash, Beautiful/Decay and The Walrus, among others.

[...]

Simulators, Angell Gallery, Toronto, 2016
Simulators, Angell Gallery, Toronto, 2016
Simulators, Angell Gallery, Toronto, 2016
Simulators, Angell Gallery, Toronto, 2016
Simulators, Angell Gallery, Toronto, 2016
Simulators, Angell Gallery, Toronto, 2016
Simulators, Angell Gallery, Toronto, 2016
Blackfoot, 110511, 32×19″ / 813×496㎜ print
Beyond The Fall, 111105, 9907×14720px, 43×64″ / 1094×1626㎜ print
Island, 110222, 48×24″ / 610×1219㎜ print
Myrrha, 110919, 2277×1725px, 9⅞×7½″ / 252×191㎜ print
(Adobe Mask, 120327, 27⅞×22½″″ / 708×571㎜ print) (Daily, 120317, 57½×40″ / 1462×1016㎜ print)
Adobe Mask, 120327, 27⅞×22½″″ / 708×571㎜ print
Daily, 120317, 17263×12000px, 57½×40″ / 1462×1016㎜ print
Seer, 110909, 28×21″ / 712×534㎜ print
Untitled Gaze, 110203, 4643×3407px, 15×11″ / 382×280㎜ print
Paradise, 110318, 3750×2850px, 15×11″ / 381×290㎜ print
Kind Of Blue, 110615, 11⅛×13⅛″ / 283×333㎜ print
Parrots, 110901, 60×84″ / 1524×2134㎜ print
Whale Brain, 100829, 12960×8640px, 30×20″ / 762×508㎜ print
Batgirl, 110306, 4250×3000px, 17×12″ / 432×305㎜ print
Mangrove Down, 120701, 20945×12677px, 74¾×45¼″ / 1900×1150㎜ print

Smarter Today, O'Born Contemporary, Toronto
October 28 – December 4, 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.

Smarter Today is Fischer's debut solo exhibition with O'Born Contemporary.

Smarter Today, O'Born Contemporary, Toronto, 2016
Smarter Today, O'Born Contemporary, Toronto, 2016
Smarter Today, O'Born Contemporary, Toronto, 2016
Smarter Today, O'Born Contemporary, Toronto, 2016
Smarter Today, O'Born Contemporary, Toronto, 2016
Smarter Today, O'Born Contemporary, Toronto, 2016
Smarter Today, O'Born Contemporary, Toronto, 2016
Smarter Today, O'Born Contemporary, Toronto, 2016
Smarter Today, O'Born Contemporary, Toronto, 2016
Smarter Today, O'Born Contemporary, Toronto, 2016
Artists Retreat, 2010, 17376×1600px, 48×44″ / 1219×1123㎜ print<
Beach House, 2010, one of five 15×9″ print
Bring Home The Bacon, 2010, 15×20″ print
Figure Head, 2010, 13200×13680px, 57×55″ / 1397×1368㎜ print
Cooks Cape, 2010, 15000×21000px, 60×84″ / 1524×2134㎜ print
Three Fates, 2010, 16421×25200px, 60×92″ / 1629×2500㎜ print
The Invisible Man Returns, 2010, 11486×7680px, 47⅞×32″ / 1216×813㎜ print
Trouble On Volcano Sundae, 2010, 17376×1600px, 48×44″ / 1219×1123㎜ print
Untitled Greens, 2010, 4500×6000px, 15×20″ / 381×508㎜ print
Groud, 2010, 18000×25200px, 60×84″ / 1524×2134㎜ print
Good Grief, 2010, 22000×16000px, 82×60 / 2100×1528㎜ print
Dweller, 2010, 18446×16000px, 49×42″ & 11⅖×9⅞″
Fungus Philosopher, 2010, 2174×1891px, 9⅛×7⅞″ / 230×200㎜ print
Monster Mash, 2010, 2174×1891px, 9⅛×7⅞″ / 230×200㎜ print
Teen Dream, 2010, 18446×16000px, 11⅖×9⅞″ / 287×249㎜ print

131, O'Born Contemporary, Toronto
2009

131 features works from Robert Canali, Liam Crockard, Alex Fischer, Rafael Goldchain, Kate McQuillen, John Monteith, Dominic Nahr, Ed Ou and Noel Rodo-Vankeulen.

131 brings together this diverse group of artists to inaugurate our new space, to introduce our new curatorial team and foremost, to announce our broadened approach to medium-specific programming.

O'Born Contemporary was established as a gallery, exhibiting contemporary photographic and lens-based works by living artists. This shall be maintained in our new space with the addition of works of all mediums, conceptually or practically linked to photography or its history.

The artists that represent us are photographers, journalists, documentarians, painters, sculptors, builders and thinkers; they do not necessarily commit themselves to a single mode of expression but all contribute to the ongoing dialogue of photography's place in contemporary art practices.

[...]

Alex Fischer's work is fodder for discourse on digital image-making. His work is heavily layered, both theoretically and visually, challenging notions of appropriation and ownership. Through reference to work of practicing artists and subsequent abstraction thereof, Fischer creates a rich and elegant aestheticization of contemporary art history in social media. [...]

131, O'Born Contemporary, Toronto, 2009
131, O'Born Contemporary, Toronto, 2009
131, O'Born Contemporary, Toronto, 2009
131, O'Born Contemporary, Toronto, 2009
Plans For A Home, 2010, 7200×6177px, 24×20½″ / 610×523㎜ print
Salt Lake Schulnik, 2010, 3936×3600px, 16×15″ / 417×381㎜ print
Venus, 2010, 22000×15931px, 29×21″ / 737×534㎜ print
Body Of Eris, 2010
Grandfather Wreath, 2010, mixed media sculpture
Spider From Venus, 2010

Alex Fischer, The Spoke Club, Toronto
2009

Alex Fischer, The Spoke Club, Toronto, 2009
Alex Fischer, The Spoke Club, Toronto, 2009
Alex Fischer, The Spoke Club, Toronto, 2009
Alex Fischer, The Spoke Club, Toronto, 2009
Alex Fischer, The Spoke Club, Toronto, 2009

This is not a bout, Special Projcts Gallery, Toronto
2009

This is not a bout, Special Projcts Gallery, York University, Toronto
This is not a bout, Special Projcts Gallery, York University, Toronto
This is not a bout, Special Projcts Gallery, York University, Toronto
This is not a bout, Special Projcts Gallery, York University, Toronto
South West Esteem, 2009, 10000×15000px, 36×54″ / 917×1375㎜ print
Hilde-brand Graffiti, 2009, 10000×15000px, 36×54″ / 917×1375㎜ print
We'll Watch Twin Peaks, 2009, 10000×15000px, 36×54″ / 917×1375㎜ print
Crewdson Landscaping And Design, 2009, 7200×7200px, 17×17″ / 433×433㎜ print
Fischer's Garden, 2009, 7200×7200px, 17×17″ / 433×433㎜ print
Julia Waits At Kims Crag, 2009, 7200×7200px, 17×17″ / 433×433㎜ print
Polyester Boat, 2009, 7200×7200px, 17×17″ / 433×433㎜ print
Santiago Sara Brown, 2009, 7200×7200px, 17×17″ / 433×433㎜ print
Safarti's Walk, 2009, 7200×7200px, 17×17″ / 433×433㎜ print
Terra Cape, 2009, 7200×7200px, 17×17″ / 433×433㎜ print
Tethered To Soth, 2009, 7200×7200px, 17×17″ / 433×433㎜ print
Williams Bridge, 2009, 7200×7200px, 17×17″ / 433×433㎜ print
Sarsen For The Mother Of The Bride, 2009, 7200×7200px, 17×17″ / 433×433㎜ print
Our Ground, 2009, 18000×18000px, 60×60in, 1524×1524㎜ print

Facing The Screen, University of Toronto Art Centre, Toronto
2009

Facing the Screen investigates the complex relationship that exists between painting and digital technologies. This public event is associated with the ongoing art lounge exhibition that will function as its physical and conceptual background. We welcome four important Canadian painters who are also faculty members in the fine arts programs at universities in the Toronto area.

Facing The Screen
Facing The Screen

Backwater Resolution, The Gales Gallery, Toronto
2009

Peinture fraîche / Fresh Paint, Art Mur, Montréal
2008

Peinture fraîche / Fresh Paint, Art Mur, Montréal, 2008
Peinture fraîche / Fresh Paint, Art Mur, Montréal, 2008
Jeff Wall Dug Me A Mounta″es, 2008, 10000×15000px, 36×54″ / 917×1375㎜ print
Syd Mead Built Me a House, 2008
My Windows Explosion Document, 2008
My Windows Explosion Document, 2008
Almond Fountain Tree, 2007
(Fallow The City Has Fields, 2008), (Jupiter Island, 2006)
Fallow The City Has Fields, 2008, 21312×14208px, 36×24″ / 914×610㎜ print
Jupiter Island, 2006, 21227×16000px, 34×26″ / 877×661㎜ print
Weather, 2005
Gayane Ballet Suite, 2005
Context, 2005
Such Zero, 2004
Ra pt ure, 2004
∞ 1 + 2, 2004, 2003
Three Trojan Horses, 2003
edifice, 2003
mind the cracks, 2003
House, 2001

Thinking

In a world of normal, how does abnormal exist?

The primary mode of play and research here involves stacking complications, using new tools, and putting to work AIs as studio assistants.

Process

Seen here are the results of processes that take into account assisted strategies, consilience, and perspectivism as guiding principles. For greatest flexibility during construction and in their presentations, projects are often created scaleable or in ultra-high-resolution and with the intention of being realized in various forms. Inspired by process-based makers, artistic practice here involves experimenting to develop the thresholds of sensitivities toward creativity, aesthetics, and “the hand” of the artist.

Whenever we adopt a new technology or new way of doing things our first common use of it is as a way to reproduce the old way of doing things. The first cars were horseless carriages, the first movies were filmed plays. The aim of exploration in Fischer's practice is to figure out ways to leverage new technologies optimally and discover the strengths of imaging in creative flows.

Features

Biography

Alex Fischer (b. 1986) is a visual artist and digital designer working across many different media and interfaces. Raised in rural Canada and based in Toronto, Fischer has developed bodies of work for public and private enterprises; placed major works in cities across the globe, succeeded as an architectural rendering designer, published in online and print, as well as a monograph (W9). They've also been invited as a juror, mentor, and speaker. Since receiving a Bachelor of Fine Arts Honours from York University in 2009, Fischer has continued academic, technical, and artistic studies, and has raised several solo exhibitions of work.

Sales

Much of what is seen on this site has or can exist as it appears. The model of sale for original works is often limited, one original or "full-size editon" and a second "scaled edition". Works are only available on an as quoted basis. Certificates of authenticity and/or a physically signed object are provided with sale.

NFTs of select works on Foundation can be found undner the name username alexfischer. If you're interested in an original, edition, or non-fungible file ownership of things seen referenced on this site, please email.

Commissions

Alex Fischer has produced large-scale fine art installations in North America, China, and Europe. Many of these commissions are assisted and coordinated by NAMARA projects, and can be expedited through local production when suited.

Thank You

A heartfelt thank you to those who help make this possible: Family, friends, techs, fabricators, framers, and installers, as well as the generous support of many private patrons, and notably Donald O'Born, BNY Mellon, Canada Goose, Eqitable Bank, Equinor, Leith Wheeler, Shrigley Battrick, TD Bank Group, and The Ontario Arts Council.

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