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Alex Fischer

Images
The rectangle of an image is here thought of like the painters canvas.

Objects
Prints, paintings, and sculptures.

Details

Installs
Documentation and mockups of appearances and exhibitions.

Figures in a Landscape

Portraits

Celestials

Exhibition

Lemon Keeper

Objects larger than 60”

Objects 24”—60”

Objects smaller than 24”

2017

2016

2015

2014

2013

2012

2011

2010

Information

Text
Statements, quotes, and readings.

artofalexfischer.com/sitedump/

2017.08.13

On Certainties and Meaning

One must feed on the roses of illusion, then the absurd mind, rather than resigning to falsehood.

I can understand only in human terms. What I touch, what resists me – that is what I understand. And these two certainties – my appetite for the absolute and for unity and the impossibility of reducing this world to a rational and reasonable principle – I also know that I cannot reconcile them.

All I can do is reply on my own behalf, realizing that what I say is relative. Accepting the absurdity of everything around us is one step, a necessary experience: it should not become a dead end. It arouses a revolt that can become fruitful. An analysis of the idea of revolt could help us to discover ideas capable of restoring a relative meaning to existence, although a meaning that would always be in danger.

–Albert Camus, 1942
2017.02.16

Yuval Noah Harari's Interlinked Processes

In his book Homo Deus Yuval Noah Harari suggests that if we take a really grand view of life, all problems and developments are overshadowed by three interlinked processes:

  1. Science is converging on an all-encompassing dogma, which says that organisms are algorithms, and life is data processing.
  2. Intelligence is decoupling from consciousness.
  3. Non-conscious but highly intelligent algorithms may soon know us better than we know ourselves.

These three processes raise three key questions:

  1. Are organisms really just algorithms, and is life really just data processing?
  2. What’s more valuable – intelligence or consciousness?
  3. What will happen to society, politics and daily life when non-conscious but highly intelligent algorithms know us better than we know ourselves?
2016.09.07

Inspiring A Malinche Double

The following is excerpted from selection of essays titled The Internet Does Not Exist published on e-flux journal and available in print through Sternberg Press.

Malinche and the End of the World
by Franco “Bifo” Baradri

Humans have experienced an end of the world (the end of a world) before. A world ends when signs proceeding from the semiotic meta-machine grow indecipherable to a cultural community that perceives itself as a world.

A world in fact is the projection of meaningful patterns onto the surrounding space of lived experience, and the sharing of a common code whose key lies in the forms of life of the community itself.

When flows of incomprehensible enunciation proceeding from the meta-machine invade the space of symbolic exchange, our world collapses because we are unable to say anything effective about events and things that surround us.

When signs proceeding from the environment are no longer consistent and understandable within the shared code frame, when the meaning of the signs that convey effectiveness and power escapes the shared cultural code, a civilization ceases to be vital. It enters a tunnel of despair and quickly decays, then dissolves. Its members die, or lose their ability to feel like they are part of a common evolving reality. Those who survive undergo a process of integration into the code of an emerging culture, of assimilation to the colonizer’s language and system of values.

From the point of view of the various indigenous cultures of pre-Columbian Mesoamerica, the Spanish colonization can be described as an end of the world (as the end of a world).

The Spaniards overcame the indigenous population thanks to their overwhelming military force, but colonization was essentially a process of symbolic and cultural subjugation. The “superiority’*' of the colonizers lay essentially in the operational effectiveness of their technical productions and expressions. Colonization destroyed the cultural environment in which indigenous communities had lived for centuries: alphabetic technology—the power of the written word—overwhelmed, threatened, and finally superseded the indigenous cultures.The Christian message merged with pre-colonization mythologies, and modern Mexican culture emerged as an effect of submission to alphabetic semiosis, but also as an effect of contamination and syncretism. The alphabetic meta-machine is based on the externalization of memory, and on the possibility of transferring information in time and space.Thanks to this functional superiority of their semiomachine, the Europeans subdued, subsumed, and recoded the cultural universe of the natives, both in Mexico and in other areas of the continent.

What happens when a world dies, when out-side flows of semiosis overpower and outperform the existing language and forms of life, and an entire world of values, expectations, and moral codes disintegrates?

Is it possible to deal with the emerging forms on the basis of the past code? Obviously not, but it is what we are currently doing, because we are unable to do otherwise. We try to interpret phenomena emerging from a hyper-complex and hyper-fast system according to the normative categories that proceed from the alphabetic universe.

Malinche

The mythos of Malinche lies at the foundation of the Latin American Unconscious.

Before the arrival of the Spanish invaders, Malinche (“Maltnalli” in the Nahuatl language, or “Marina” for the Spaniards), the daughter of a noble Aztec family, was given away as a slave to passing traders after her father died and her mother remarried.

By the time Cortés arrived, she had learned the Mayan dialects spoken in the Yucatan while still understanding Nahuatl, the language of the Aztecs. For many years, Malinche—a resourceful woman of exceptional beauty and intellect—became the lover of Cortes and accompanied him as his interpreter. She translated the words exchanged between Cortes and Moctezuma, king of the Aztec population of Tenochtitlan, and she translated the conqueror’s words when he met crowds of indigenous people. She translated for Nahuatl-speaking people the words of Christian conquerors and Christian priests.

In the novel Malinche (2006), Laura Esquivel imagines Malinalli trapped between her own beliefs—taught to her through folktales and vivid imagery by her loving grandmother—and the Christian beliefs introduced by her master and lover. How did she manage to translate Christian mythology and ethical concepts into the mythology of Quetzalcoatl and Huitzilopochtli? What kind of symbolic transformation and re-elaboration did her translations involve? In Mexico—and South America in general—Christian culture and mythology was reshaped in a syncretic way, and ambiguity was accepted as an essential feature of the religious exchange. The translator was a traitor in a double direction: she betrayed her own people, linking up with the invaders, but she also betrayed the conquerors, her lover included. I use the word “betrayal” only in a technical sense: from the moral point of view, she owed nothing to her own people, who had sold her into slavery and treated her as a servant. Cortes chose her as his lover and collaborator, and they had a child, Martin, who was the first Mexican person.

Malinche was extremely helpful to Cortés in his conquest. In a letter preserved in the Spanish archives, Cortes said: “After God we owe this conquest of New Spain to Dona Marina” (her Spanish name).The legacy of Malinche is controversial: in contemporary Mexico, the word “malinche” is sometimes used pejoratively to describe someone who denies their heritage, someone who values other cultures above their own. Although she has been described as a traitor, historians say that when conflict exploded between the Spanish and indigenous people, Malinche played a key role in avoiding bloodshed. Her role as translator gave her the power to control information, and, most importantly, to translate concepts. Octavio Paz speaks of Malinche in The Labyrinth of Solitude:

In contrast to Guadalupe, who is the Virgin Mother, the Chingada is the violated Mother. [...] Guadalupe is pure receptivity, and the benefits she bestows are of the same order: she consoles, quiets, dries tears, calms passions.The Chingada is even more passive. Her passivity is abject: she does not resist violence, but is an inert heap of bones, blood, and dust. Her taint is constitutional and resides, as we said earlier, in her sex. This passivity, open to the outside world, causes her to lose her identity: she is the Chingada, she loses her name, she disappears into nothingness, she is Nothingness. And yet she is the cruel incarnation of the feminine condition.

If the Chingada is a representation of the violated Mother, it is appropriate to associate her with the Conquest, which was also a violation, not only in the historical sense but also in the very flesh of Indian women. The symbol of this violation is doña Malinche, the mistress of Cortés. It is true that she gave herself voluntarily to the conquistador, but he forgot her as soon as her usefulness was over. Doña Marina becomes a figure representing the Indian women who were fascinated, violated, or seduced by the Spaniards.1

Malinche is not only the expression of the mixing of cultures. She is also the expression of the rebirth of the world from the collapse of the old. She is considered a symbol of subjection but also a symbol of the emergence of a new Mexico, of a new history and a new world. But first and foremost she is the expression of the consciousness that her world is over: the world as a system of consistent cultural and semiotic references disintegrates. If the limits of a world are the limits of the language that makes this world consistent and meaningful, Malinche is the symbol of the end of a world, and also the symbol'Of the formation of a new semiotic space of world-projection at the intersection between two different codes. Malinche is able to transform the collapse of her world into the creation of a new language, and therefore of a new world that is neither a perpetuation of the old, nor a mere translation of the world of the conquistadores.

Only when someone is able to see such a collapse as the obliteration of memory and identity—in a word, as the end of the world—can a new world can be imagined. This is the lesson that Malinche teaches us.

The Cognitive Automaton and Us

At the beginning of the twenty-first century we are in a position that is similar to that of Malinche: the conqueror is here, peaceful or aggressive, infinitely superior, unattainable, incomprehensible. We have given birth to the conqueror, who emerged from our history and went away, beyond- the ocean, and destroyed any form of existing life in order to create a new code, based on purity, in order to create the automaton, the rationale for never-ending automation.

The bio-info automaton is taking shape at the point of connection between electronic machines, digital languages, and minds formatted in a way that complies with its codes. The automaton’s flow of enunciation emanates a connective world that conjunctive codes cannot interpret, a world that is semiotically incompatible with the social civilization that was the outcome of five centuries of humanism, enlightenment, and socialism.

I will never be able to live in peace with the automaton, because I was formatted in the old world. As Pris says in Blade Runner, I’m dead because I’m stupid. My body survives because I cannot find a way out.The human race is becoming an army of sleepwalkers: people suffering from Alzheimer’s Disease, people taking pills to face reality, smiling, saying yes, yes...

The automaton is the reification of the networked cognitive activity of millions of semioworkers around the globe. Only when they become compatible with the connective code can semioworkers enter into the process of networking. This implies the deactivation of conjunctive modes of communication and perception (compassion, empathy, solidarity, ambiguity, and irony), paving the way for the assimilation of the conscious organism into the digital automaton.

According to transhumanist ideology, a few decades from now the digital automaton will be able to perfectly replace human organisms. Ray Kurzweil thinks that in the near future humans and machines will become interchangeable from the point of view of cognitive efficacy. This is clearly possible, but the implication that the automaton and the human will merge—essential to the transhuman hypothesis—is false: the automaton will never be assimilable to the human being because human specificity lies in the relation between conscious rationality and the Unconscious.

From the operational point of view, the functional cognitively of the automaton is more powerful than human cognitively—more powerful, more effective, and obviously more destructive. But the unbridgeable difference between the conscious organism and the automaton, as complex and refined as it may be, lies in the Unconscious.

The Unconscious of the automaton is the material hardware of electromagnetic machinery that we call the Net. The human Unconscious is fleshy, marked by ambiguity, inconsequentially and (most importantly) death.

The automaton is pure functionality, even when it is endowed with self-regulating evolution. It will subsume human cognitive competence and subject it to its rule. The prospect that we have to face, then, is not the tender transhuman alliance between friendly, hyper-intelligent machines and human beings; it is rather the final subjection of humans to the rule of nonorganic intelligent automata, whose behavior will be regulated according to criteria inscribed in them by their builder: biofinancial capitalism. The automaton will be able to evolve, yes. But the paradigm of this evolution will be inscribed into its info-genetic code by the builder. And the builder coincides with the most advanced corporations of biofinancial capitalism, like Google.

In the global landscape today, after the disappearance of egalitarian cultures, we see only two actors: the first actor is the all-pervading force of financial abstraction, the second is the proliferation of rancorous reactive identitarian bodies.

Financial abstraction is based on the faceless operatively of automatisms embedded in soulless social dynamics. Nobody is really in charge, nobody is consciously making decisions: in economic operations, logical mathematical implications have replaced the decider, and the algorithm of capital has grown independent of the individual will of the owner.

The impersonality of the financial abstraction escapes any attempt at conscious political transformation, so people who have lost control of their lives cling to a sense of illusory belonging: nation, religious faith, and ethnicity are protections against insecurity and loneliness. They are also tools of aggression used against competitors.

The connective energies of the new generation are recombined by the technofinancial automaton, and reduced to a condition of precariousness. Aggressive belonging is their only form of cohesion.

Will the general intellect be able to disentangle itself from the automaton? Can consciousness act on neurological evolution? Will language overcome the limits of the code of vanishing conjunctive cultures? Will pleasure, affection, and empathy find a way to reemerge out of their conjunctive framework? Will we translate into human language the connective language of the automated semiomachine whose buzzing is growing in our heads?

These are questions that only Malinche can answer, opening to the incomprehensible other, betraying her people, and reinventing language in order to express what cannot be said.

1Octavio Paz, The Labyrinth of Solitude and Other Writings (New York: Grove Press, 1985), 85-86.

Trace • Copy • Render

Group Exhibition

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

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

1, 7, and 6000

solo exhibition at O'Born Contemporary

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,ness 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.

Dry Pixels And Wet Molecules

solo exhibition at O'Born Contemporary

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, Fall 2013

Beyond The Fall

solo exhibition at Galerie BAC & O'Born Contemporary

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, Fall 2012

Smarter Today

solo exhibition at O'Born Contemporary

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 ownness, 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

A Rose Is A Rose Is A, 2017, 3:2
A Rose Is A Rose Is A, 2017
A Rose Is A Rose Is A, 2017, 12”×8.4” print
A Rose Is A Rose Is A, 2017 print
A Rose Is A Rose Is A, 2017, detail
A Rose Is A Rose Is A, 2017 detail
Out Stretched Palm, 2014, 5:4
Out Stretched Palm, 2017
Out Stretched Palm, 2014, 20”×16” print
Out Stretched Palm, 2017 print
Lacunal Heights, 2017
Lacunal Heights, 2017
Lacunal Heights, 2017, 60”×40” print
Lacunal Heights, 2017 print
Lacunal Heights, 2017, detail
Lacunal Heights, 2017 detail
Banana Plumage, 2017, 5:4
Banana Plumage, 2017
Banana Plumage, 2017, 30”×24” print
Banana Plumage, 2017 print
Banana Plumage, 2017, detail
Banana Plumage, 2017 detail
Banks See Banana Man, 2017, 3:2
Banks See Banana Man, 2017
Banks See Banana Man, 2017, 50”×33½” print
Banks See Banana Man, 2017 print
Banks See Banana Man, 2017, install
Banks See Banana Man, 2017 install
Banks See Banana Man, 2017, detail
Banks See Banana Man, 2017 detail
Bather's Blues, 2017, 5:4
Bather's Blues, 2017
Bather's Blues, 2017, 40”×32” print
Bather's Blues, 2017 print
Bather's Blues, 2017, 5:4
Bather's Blues, 2017 install
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
Forage Through Absurdity With No Great Certainty To Find Paradise Is Other People, 2017, 40”×30” mixed media
Forage Through Absurdity With No Great Certainty To Find Paradise Is Other People, 2017 mixed media
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 install
Between You and Me, 2017,
Between You and Me, 2017
Between You and Me, 2017, 18.2”×14.6” print
Between You and Me, 2017 print
Between You and Me, 2017, detail
Between You and Me, 2017 detail
Between Steps, 2017, 5:4
Between Steps, 2017
Between Steps, 2017, 14”×11” print
Between Steps, 2017 print
Blood Bowl, 2017, 5:4
Blood Bowl, 2017
Blood Bowl, 2017, 15”×12” print
Blood Bowl, 2017 print
Blood Bowl, 2017, detail
Blood Bowl, 2017 detail
Bramble Walker, 2017, 4:6
Bramble Walker, 2017
Bramble Walker, 2017, 60”×40” print
Bramble Walker, 2017 install
Bramble Walker, 2017, detail
Bramble Walker, 2017 detail
Canal Et Tu, 2017, 4:6
Canal Et Tu, 2017
Canal Et Tu, 2017, 17”×24” print
Canal Et Tu, 2017 print
Canal Et Tu, 2017, detail
Canal Et Tu, 2017 detail
Chameleon Pro, 2017, 9”×7” AP
Chameleon Pro, 2017
Der Hirte, 2017, 5:4
Der Hirte, 2017
Der Hirte, 2017
Der Hirte, 2017 print
Frankenstein, 2017, 9”×7” AP
Frankenstein, 2017
Frankenstein's Real, 2017
Frankenstein's Real, 2017
Frankenstein's Real, 2017 84”×60” print
Frankenstein's Real, 2017 print
Frankenstein's Real, 2017 install
Frankenstein's Real, 2017 install
Frankenstein's Real, 2017 detail
Frankenstein's Real, 2017 detail
Ha, 2017, 9”×7” print
Ha, 2017
Isle E, 2017, 9”×7” AP
Isle E, 2017
Jamaraat Bridge, 2017
Jamaraat Bridge, 2017
Jamaraat Bridge, 2017, 120”×180” three panel print
Jamaraat Bridge, 2017 install
Jamaraat Bridge, 2017
Jamaraat Bridge, 2017 detail
Jamaraat Bridge, 2017, detail
Jamaraat Bridge, 2017 detail
Koons Talk Pile, 2017
Koons Talk Pile, 2017
Koons Talk Pile, 2017, 60”×90” print
Koons Talk Pile, 2017 print
Koons Talk Pile, 2017 install
Koons Talk Pile, 2017 install
Flood After Flood, 2017, 4:6
Flood After Flood, 2017
Flood After Flood, 2017, 40”×60” print
Flood After Flood, 2017 print
Flood After Flood, 2017, 40”×60” print
Flood After Flood, 2017 install
Alex, 2017, 5:4
Alex, 2017
Alex, 2017, 11”×8½”, 22”×17”, 44”×34” print
Alex, 2017 print
Alex, 2017, detail
Alex, 2017 detail
Andrew, 2017, 5:4
Andrew, 2017
Andrew, 2017, 11”×8½”, 22”×17”, 44”×34” print
Andrew, 2017 print
Andrew, 2017, detail
Andrew, 2017 detail
Baasir, 2017, 5:4
Baasir, 2017
Baasir, 2017, 11”×8½”, 22”×17”, 44”×34” print
Baasir, 2017 print
Baasir, 2017, detail
Baasir, 2017 detail
Baily, 2017, 5:4
Baily, 2017
Baily, 2017, 11”×8½”, 22”×17”, 44”×34” print
Baily, 2017 print
Baily, 2017, detail
Baily, 2017 detail
David, 2017, 5:4
David, 2017
David, 2017, 11”×8½”, 22”×17”, 44”×34” print
David, 2017 print
David, 2017, detail
David, 2017 detail
Emily, 2017, 5:4
Emily, 2017
Emily, 2017, 11”×8½”, 22”×17”, 44”×34” print
Emily, 2017 print
Emily, 2017, detail
Emilyx, 2017 detail
Holly, 2017, 5:4
Holly, 2017
Holly, 2017, 11”×8½”, 22”×17”, 44”×34” print
Holly, 2017 print
Holly, 2017, detail
Holly, 2017 detail
Jason, 2017, 5:4
Jason, 2017
Jason, 2017, 11”×8½”, 22”×17”, 44”×34” print
Jason, 2017 print
Jason, 2017, detail
Jason, 2017 detail
Justin, 2017, 5:4
Justin, 2017
Justin, 2017, 11”×8½”, 22”×17”, 44”×34” print
Justin, 2017 print
Justin, 2017, detail
Justin, 2017 detail
Lana, 2017, 5:4
Lana, 2017
Lana, 2017, 11”×8½”, 22”×17”, 44”×34” print
Lana, 2017 print
Lana, 2017, detail
Lana, 2017 detail
Richard, 2017, 5:4
Richard, 2017
Richard, 2017, 11”×8½”, 22”×17”, 44”×34” print
Richard, 2017 print
Richard, 2017, detail
Richard, 2017 detail
Sam, 2017, 5:4
Sam, 2017
Sam, 2017, 11”×8½”, 22”×17”, 44”×34” print
Sam, 2017 print
Sam, 2017, detail
Sam, 2017 detail
Severen, 2017, 5:4
Severen, 2017
Severen, 2017, 11”×8½”, 22”×17”, 44”×34” print
Severen, 2017 print
Severen, 2017, detail
Severen, 2017 install
Lemon Keeper, 2017
Lemon Keeper, 2017
Lemon Keeper, 2017, 19”×25”, 10”×13¼” print
Lemon Keeper, 2017 print
Let Me Play You My Burning Concerns, 2017
Let Me Play You My Burning Concerns, 2017
Let Me Play You My Burning Concerns, 2017, 26.5”×21.2” print
Let Me Play You My Burning Concerns, 2017 print
Lowlands, 2017
Lowlands, 2017
Lowlands, 2017, 12”×12” print
Lowlands, 2017 print
Mask 0, 2017
Mask 0, 2017
Mask 0, 2017, 12”×9” print
Mask 0, 2017 print
Mask 1, 2017
Mask 1, 2017
Mask 1, 2017, 12”×9” print
Mask 1, 2017 print
Mirror Projection, 2017, 9”×7” AP
Mirror Projection, 2017
Nettle Keeper, 2017
Nettle Keeper, 2017
Nettle Keeper, 2017, 21¼”×17” print
Nettle Keeper, 2017 print
On, 2017
On, 2017
On, 2017, 20”×16¼” print
On, 2017 print
Prometaphase, 2017
Prometaphase, 2017
Prometaphase, 2017, 52”×60” print
Prometaphase, 2017 print
Prometaphase, 2017, install
Prometaphase, 2017 install
Prometaphase, 2017, detail
Prometaphase, 2017 detail
Pale Rythem, 2017
Pale Rythem, 2017
Pale Rythem, 2017, 50”×40”, 9”×7” print
Pale Rythem, 2017 print
Portrait Landscape, 2017, 9”×7” AP
Portrait Landscape, 2017
Red Centre, 2017, 18”×14” print
Red Centre, 2017
Sea I, 2017
Sea I, 2017
Sea I, 2017, 9”×7”, 40”×32”, 75”×60” print
Sea I, 2017 print
Sea I, 2017, 75”×60” print
Sea I, 2017
Seer, 2012-17
Seer, 2012-17
Seer, 2012-17, one of two 28”×28” print
Seer, 2012-17 print
Seer, 2012-17, one of two 28”×28” print
Seer, 2012-17 detail
Snakes and Lobbies, 2017 9”×7” print
Snakes and Lobbies, 2017
Starnose, 2017, 57½”×40” mixed media
Starnose, 2017
Tangled Bank, 2017, 36”×24” painting on canvas
Tangled Bank, 2017
Tangled Bank, 2017, 36”×24” painting on canvas
Tangled Bank, 2017
Tangled Bank, 2017, install
Tangled Bank, 2017 install
Tangled Bank, 2017, detail
Tangled Bank, 2017 detail
Tango, 2017, 9”×7” AP
Tango, 2017
untitled, 2017
untitled, 2017
untitled, 2017, 9”×7” print
untitled, 2017 print
Who's Counting, 2017
Who's Counting, 2017
Who's Counting, 2017, 22½”×17½”, 9”×7” print
Who's Counting, 2017
Window Licker, 2017, 9:7
Window Licker, 2017
Window Licker, 2017, 9”×7” print
Window Licker, 2017 matte
World-tulpa, 2017
World-tulpa, 2017
World-tulpa, 2017, 75”×60 ” print
World-tulpa, 2017 print
World-tulpa, 2017, 75”×60 ” print
World-tulpa, 2017 install
World-tulpa, 2017, detail
World-tulpa, 2017 detail
Left: Official, 2015 72”×48 ” edition. Right: World Tulpa, 2017, 75”×60 ” edition.
L: Official, 2017
R: World Tulpa, 2017
Left: Banana Plumage, 2017 30”×24 ” edition. Right: Lacunal Heights, 2017 60”×40 ” edition.
L: Banana Plumage, 2017
R: Lacunal Heights, 2017
A Malinche Double, 2016
A Malinche Double, 2016
A Malinche Double, 2016, 14”×11” print
A Malinche Double, 2016 install
Dip, 2016, 14”×11” print
Dip, 2016
Ghost Horse, 2016
Ghost Horse, 2016
Ghost Horse, 2016, 15”×15” print
Ghost Horse, 2016 print
In a Dream about a Ghost, 2016
In a Dream about a Ghost, 2016
In a Dream about a Ghost, 2016, 72”×57½” print
In a Dream about a Ghost, 2016 install
In a Dream about a Ghost, 2016 detail
In a Dream about a Ghost, 2016 detail
Iron Lung, 2016
Iron Lung, 2016
Iron Lung, 2016, 72”×57½” print
Iron Lung, 2016 install
Iron Lung, 2016 detail
Iron Lung, 2016 detail
Look Out Lucinda, 2016
Look Out Lucinda, 2016
Milne's Crossing, 2016
Milne's Crossing, 2016
Milne's Crossing, 2016, 11”×14” print
Milne's Crossing, 2016 print
Night Outside, 2016, one of three 12½”×10” print
Day Outside, 2016
Night Outside, 2016, one of three 12½”×10” print
Night Outside, 2016
Pet, Casper and Hesperie, 2016, 48”×54” paint on canvas
Pet, Casper and Hesperie, 2016
Pet, Casper and Hesperie, 2016, 48”×54” paint on canvas
Pet, Casper and Hesperie, 2016 install
Pet, 2016, one of three 12”×9⅗” print
Pet, 2016
Casper, 2016, one of three 12”×9⅗” print
Casper, 2016
Hesperie, 2016, one of three 12”×9⅗” print
Hesperie, 2016
Pluck from the Brush, 2016, one of ten 14”×11” print
Pluck from the Brush, 2016
Rocinante and Blue Rider, 2016
Rocinante and Blue Rider, 2016
Rocinante and Blue Rider, 2016, one of two 60”×48” print
Rocinante and Blue Rider, 2016 print
Rocinante and Blue Rider, 2016, one of two 60”×48” print
Rocinante and Blue Rider, 2016 install
Rocinante and Blue Rider, 2016 detail
Rocinante and Blue Rider, 2016 detail
Saturnine Clock, 2016
Saturnine Clock, 2016
Saturnine Clock, 2016, 75”×60” print
Saturnine Clock, 2016 install
Saturnine Clock, 2016
Saturnine Clock, 2016 detail
Save Cave B&W Blue, 2016, 14”×11” print
Save Cave B&W Blue, 2016
Season V, 2016, 72”×48” paint on panel
Season V, 2016
Season V, 2016, 72”×48” paint on panel
Season V, 2016 install
Season V, 2016 detail
Season V, 2016 detail
Super Seed B&WBlue, 2016, 14”×11” print
Super Seed B&WBLUE, 2016
Super Seed, 2016, 14”×11” print
Super Seed, 2016 print
Thistlee Keeper, 2016, 21¼”×17” print
Thistlee Keeper, 2016
Wave V, 2016, 14”×11” print
Wave V, 2016
Willow Fire, 2016
Willow Fire, 2016
Willow Fire, 2016, 14”×11” print
Willow Fire, 2016 print
With Picabia's Hand, 2016, 14”×11” print
With Picabia's Hand, 2016
With Picabia's Hand, 2016, 14”×11” print
With Picabia's Hand, 2016 print
With Picabia's Hand earlier, 2016, 14”×11” print
With Picabia's Hand earlier, 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, 25½”×20” print
000000, 2015
0c, 2015, 25½”×20” print
0c, 2015
1b, 2015, 25½”×20” print
1b, 2015
1b, 2015 install
1b, 2015 install
1b, 2015 install office
1b, 2015 install office
3, 2015, 25½”×20” print
3, 2015
Beach Landing, 2015
Beach Landing, 2015
Beach Landing, 2015, 16.8”×12” print
Beach Landing, 2015 print
Blue Lei, 2015
Blue Lei, 2015
Blue Lei, 2015, 25½”×20” print
Blue Lei, 2015 print
Blue Lei detail, 2015
Blue Lei, 2015 detail
Bowl, 2015
Bowl, 2015
Bowl, 2015, 25½”×20” print
Bowl, 2015 print
Brown Lemon, 2015
Brown Lemon, 2015
Brown Lemon, 2015, 25½”×20” print
Brown Lemon, 2015 print
Green Scrape, 2015, exhibition AP
Green Scrape, 2015
My My Mind Vs Brain, 2015, 20”×16” print
My My Mind Vs Brain, 2015
Official, 2015
Official, 2015
Official, 2015
Official, 2015 install
Official, 2015 detail
Official, 2015 detail
Real Safe Myth, 2015
Real Safe Myth, 2015
Real Safe Myth, 2015, 10”×9” print
Real Safe Myth, 2015 print
Red Lemon, 2015
Red Lemon, 2015
Red Lemon, 2015, 30”×24” print
Red Lemon, 2015 print
Untitled22, 2015
Untitled22, 2015
Untitled22, 2015, 20”×16” print
Untitled22, 2015
Was A Fish, 2015, 20”×16” print
Was A Fish, 2015
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, 60”×48” print
VII, 2015
VII 冯声贵 Feng Shui Gui, 2015, 60”×48” oil on canvas
VII 冯声贵 Feng Shui Gui, 2015
VII 叶安 Ye An, 2015, 60”×48” oil on canvas
VII 叶安 Ye An, 2015
VII 林建 Lin Jian, 2015, 60”×48” oil on canvas
VII 林建 Lin Jian, 2015
VII 江明 Jiang Ming, 2015, 60”×48” oil on canvas
VII 江明 Jiang Ming, 2015
VII 陈山 Chen Shan, 2015, 60”×48” oil on canvas
VII 陈山 Chen Shan, 2015
VII 陈文波 Chen Wen Bo, 2015, 60”×48” oil on canvas
VII 陈文波 Chen Wen Bo, 2015
VII 陈秋林 Chen Qiu L”es, 2015, 60”×48” 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

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

VII 6000 Arch, 2015
A 82”×48”×40 ” acrylic and aluminium arch bolstering two hundred and forty 6”×4 ” 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
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”×20” print
Angler, 2014
Aviary, 2014, one of five 30”×27” print
Aviary, 2014
Brawl, 2014
Brawl, 2014
Brawl, 2014, one of five 30”×27” print
Brawl, 2014 print
Brawl, 2014 detail
Brawl, 2014 detail
Garden Spell, 2014
Garden Spell, 2014
Garden Spell, 2014, one of five 17”×17” print
Garden Spell, 2014
George's Cuttlefish, 2014
George's Cuttlefish, 2014
Inside The Faberge Egg, 2014
Inside The Faberge Egg, 2014
Inside The Faberge Egg, 2014, one of two 25”×20” print
Inside The Faberge Egg, 2014 print
M, 2014
M, 2014
M, 2014, one of two 20”×16” print
M, 2014 print
Moore, 2014
Moore, 2014
Moore, 2014, 75”×60 ” and 37½”×30” print
Moore, 2014 print
Moore, 2014, 75”×60 ” and 37½”×30” print
Moore, 2014 install
On Cotton, 2014
On Cotton, 2014
On Cotton, 2014, 15”×12” print
On Cotton, 2014 print
Parlor, 2014, one of two 30”×24” print
Parlor, 2014
Planet Print, 2014
Planet Print, 2014
Planet Print, 2014, one of two 17”×17” print
Planet Print, 2014 print
Supersymmetry II, 2014, 96”×96” print
Supersymmetry II, 2014
Supersymmetry II, 2014, 96”×96” sintra print
Supersymmetry II, 2014 install
Supersymmetry II, 2014, 96”×96” sintra print
Supersymmetry II, 2014 install
Supersymmetry II, 2014, 96”×96” plexi screen print
Supersymmetry II, 2014 install
Wizard Eyes, 2014, one of three 12½”×10” print
Wizard Eyes, 2014
A General Impression, 2013
A General Impression, 2013
A General Impression, 2013, 11”×8½” exhibition AP
A General Impression, 2013 print
A General Impression, 2013, 11”×8½” exhibition AP
A General Impression, 2013 install
A Head Of, 2013, 22½”×16” print
A Head Of, 2013
Ammonite, 2013, 27”×15”×40” mixed media sculpture. driftwood, clay, silicone, cotton, paint, glass, plastic, foam, acrylic, steel
Ammonite, 2013
Brush Wor, 2013, one of two 20”×16” print
Brush Work, 2013
Disc, 2013
Disc, 2013
Disc, 2013, 96”×48” AP
Disc, 2013 install
Disc, 2013, 96”×48” AP
Disc, 2013 detail
Feather Feeder, 2013
Feather Feeder, 2013
Feather Feeder, 2013, 36&frac25”×42;” exhibition AP
Feather Feeder, 2013 print
Flesh Fruit, 2013, one of four 10½”×8” print
Flesh Fruit, 2013
Jewel Fruit, 2013, one of four 11”×8½” print
Jewel Fruit, 2013
Is Water, 2013, 24¼”×40¾” exhibition AP
Is Water, 2013
Jelly Portrait, 2013, 27”×25⅝” AP
Jelly Portrait, 2013
Jelly Portrait, 2013, 27”×25⅝” AP
Jelly Portrait, 2013 print
Jelly Portrait, 2013 install
Jelly Portrait, 2013 install
Lichen, 2013, 35”×35”×75” mixed media sculpture
Lichen, 2013 install
Lichen, 2013, 35”×35”×75” mixed media sculpture
Lichen, 2013 detail
Loop (Santiago), 2013
Loop Santiago, 2013
Loop (Santiago), 2013, 43”×34” AP
Loop Santiago, 2013 install
Markered Market, 2013
Markered Market, 2013
Markered Market, 2013, 18”×28½” print
Markered Market, 2013 print
Mouth, 2013, 96”×144in digital painting
Mouth, 2013
Mouth, 2013, 96”×144in dyesub
Mouth, 2013 print
Mouth, 2013, detail
Mouth, 2013 detail
Mouth, 2013, detail
Mouth, 2013 detail
Mouth, 2013, detail
Mouth, 2013 detail
Nervous System Preserver, 2013, 13¾”×13¾”×2¾in nylon 3d print
Nervous System Preserver, 2013
Ready To Ooze, 2013
Ready To Ooze, 2013
Ready To Ooze, 2013, 63⅛”×37⅝” AP
Ready To Ooze, 2013 print
Ready To Ooze, 2013 install
Ready To Ooze, 2013 install
Seeding, 2013
Seeding, 2013
Seeding, 2013, 21”×14” exhibition AP
Seeding, 2013 install
Shellfish Cells, 2013, 9⅝”×7⅝” exhibition AP
Shellfish Cells, 2013
Shellfish Cells, 2013, 9⅝”×7⅝” exhibition AP
Shellfish Cells, 2013 install
Similar Image Object (b), 2013, 15¾”×47¼ screenprint on mirror
Similar Image Object (b), 2013
Untitled Head, 2013, one of two 24”×21⅗” print
Untitled Head, 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
Adobe Mask, 2012
Adobe Mask, 2012
Adobe Mask, 2012, 27⅞”×22½” print
Adobe Mask, 2012 print
Adobe Mask, 2012, detail
Adobe Mask, 2012 detail
Artists Image, 2012
Artists Image, 2012
Artists Image, 2012, 11¾”×8⅝” print
Artists Image, 2012 print
Big Blue, 2012, 2560”×1440pixel digital composite
Big Blue, 2012
bow 2012, one of three 15½”×23⅝” print
bow, 2012
Cell Pattern, 2012
Cell Pattern, 2012
Cell Pattern, 2012, 96”×96” print
Cell Pattern, 2012 install
Greens, 2012
Greens, 2012
Greens, 2012, 80”×120” plexi screenprint
Greens, 2012 print
Greens, 2012, 80”×120” plexi screenprint
Greens, 2012 install
Daily, 2012
Daily, 2012
Daily, 2012, one of three 57½”×40” print
Daily, 2012 print
Daily, 2012 install
Daily, 2012 install
Deep Deep Under, 2012, one of three 15”×12” print
Deep Deep Under, 2012
Earlier, 2012
Earlier, 2012
Earlier, 2012, one of three 16¾”×12⅗” print
Earlier, 2012 print
Up, 2012, one of three 22”×17½” print
Up, 2012
Up, 2012, one of three 22”×17½” print
Up, 2012 print
Jame, 2012
Jame, 2012
Jame, 2012, one of two 22½”×15” print
Jame, 2012 print
Jame, 2012 install
Jame, 2012 install
Mangrove Down, 2012, 74¾”×45¼” AP
Mangrove Down, 2012
Mangrove Down, 2012, 74¾”×45¼” AP
Mangrove Down, 2012 install
Mangrove Up, 2012, 74¾”×45¼” print
Mangrove Up, 2012
Mangrove Up, 2012, 74¾”×45¼” print
Mangrove Up, 2012 install
Straw Man, 2012, 96”×180” exhibition AP
Straw Man, 2012
Straw Man, 2012, 96”×180” exhibition AP
Straw Man, 2012 install
Straw Man, 2012, detail
Straw Man, 2012 detail
Supercollider, 2012, one of three 48”×48” print
Supercollider, 2012
Whale Bra”es, 2012, one of two 30”×20” print
Whale Brain, 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 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
Aurora, 2011
Aurora, 2011, 12”×12⅗” print
Aurora, 2011 print
Batgirl, 2011, 17”×12” print
Batgirl, 2011
Beyond The Fall, 2011
Beyond The Fall, 2011
Beyond The Fall, 2011, 43”×64” print
Beyond The Fall, 2011 install
Blackfoot, 2011, 15”×9⅛” print
Blackfoot, 2011
Bluenose, 2011, 15”×11” print
Bluenose, 2011
Bluenose, 2011, 15”×11” print
Bluenose, 2011 print
Island, 2011, 48”×24” AP
Island, 2011
Kind Of Blue, 2011
Kind Of Blue, 2011
Kind Of Blue, 2011, 11⅛”×13⅛” print
Kind Of Blue, 2011 print
Kind Of Blue, 2011, install
Kind Of Blue, 2011 install
Myrrha, 2011
Myrrha, 2011
Myrrha, 2011, 9⅞”×7½” print
Myrrha, 2011 print
Paradise, 2011, 15”×11” print
Paradise, 2011
Paradise, 2011, 15”×11” print
Paradise, 2011 print
Parrots, 2011
Parrots, 2011
Parrots, 2011, 60”×84” AP
Parrots, 2011 print
Purple Jesus, 2011
Purple Jesus, 2011
Purple Jesus, 2011, one of five 13⅛”×12¾” print
Purple Jesus, 2011 install
The Infant And The Garden Hose, 2011, 47” diameter exhibition AP
The Infant And The Garden Hose, 2011
Untitled Gaze, 2011, one of four 15”×11” print
Untitled Gaze, 2011
Artists Retreat, 2010, one of five 16”×14⅗” print
Artists Retreat, 2010
Beach House, 2010, one of five 15”×9” print
Beach House, 2010
Bring Home The Bacon, 2010
Bring Home The Bacon, 2010
Bring Home The Bacon, 2010, 15”×20” print
Bring Home The Bacon, 2010 print
Cooks Cape, 2010, 60”×84” exhibition AP
Cooks Cape, 2010
Dweller, 2010, one of five 11⅖”×9⅞” print
Dweller, 2010
ed, 2010, one of five 11”×11” print
Ed, 2010
Figure Head, 2010, one of four 57”×55” print
Figure Head, 2010
Fungus Philosopher, 2010, one of ten 9⅛”×7⅞” print
Fungus Philosopher, 2010
Good Grief, 2010
Good Grief, 2010
Good Grief, 2010, 22”×16” print
Good Grief, 2010 print
Grandfather Wreath, 2010, mixed media sculpture
Grandfather Wreath, 2010
Groud, 2010, exhibition AP
Ground, 2010
Monster Mash, 2010, one of five 9⅛”×7⅞” print
Monster Mash, 2010
Plans For A Home, 2010, one of five 24”×20½” print
Plans For A Home, 2010
Salt Lake Schulnik, 2010, one of five 13”×12” print
Salt Lake Schulnik, 2010
Teen Dream, 2010, one of ten 11⅖”×9⅞” print
Teen Dream, 2010
The Invisible Man Returns, 2010, 47⅞”×32” exhibition AP
The Invisible Man Returns, 2010
Three Fates, 2010, 60”×92” exhibition AP
Three Fates, 2010
Trouble On Volcano Sundae, 2010, one of five 16”×14⅗” print
Trouble On Volcano Sundae, 2010
Untitled Greens, 2010, one of five 15”×20” print
Untitled Greens, 2010
Venus, 2010, one of three 14½”×10½” print
Venus, 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
Crewdson Landscaping And Design, 2009, one of five 17”×17” print
Crewdson Landscaping And Design, 2009
Fischer's Garden, 2009, one of five 17”×17” print
Fischer's Garden, 2009
Hilde-brand Graffiti, 2009, one of two 36”×54” print
Hilde-brand Graffiti, 2009
Julia Waits At Kims Crag, 2009, one of five 17”×17” print
Julia Waits At Kims Crag,
Our Ground, 2009, one of three 60”×60” print
Our Ground, 2009
Polyester Boat, 2009, one of five 17”×17” print
Polyester Boat, 2009
Santiago Sara Brown, 2009, one of five 17”×17” print
Santiago Sara Brown, 2009
Safarti's Walk, 2009, one of five 17”×17” print
Safarti's Walk, 2009
Sarsen For The Mother Of The Bride, 2009, one of five 17”×17” print
Sarsen For The Mother Of The Bride, 2009
South West Esteem, 2009, one of four 36”×54” print
South West Esteem, 2009
Terra Cape, 2009, one of five 17”×17” print
Terra Cape, 2009
Tethered To Soth, 2009, one of five 17”×17” print
Tethered To Soth, 2009
We'll Watch Twin Peaks, 2009, one of three 36”×54” print
We'll Watch Twin Peaks, 2009
Williams Bridge, 2009, one of five 17”×17” print
Williams Bridge, 2009
Fallow The City Has Fields, 2008, one of five 4½”×2¾” print
Fallow The City Has Fields, 2008
Jeff Wall Dug Me A Mounta”es, 2008, one of five 36”×54” print
Jeff Wall Dug Me A Mountain, 2008

Bio

Alex Fischer (b. 1986, Canada; lives and works in Toronto) creates prints and paintings with the assistance of artificial intelligence. Inspired by process-based image makers and new realist philosophies Fischer considers the image as a potential bridge between ideas, peoples, and cultures. His chosen approach of assisted collage serves as media melting pot for the practice of Artography: a hybrid form of action research creating its rigour through continuous reflexivity (taking account of itself), discourse analysis, and hermeneutic inquiry (concerning interpretation). Essentially, Fischer makes images that encourage the viewer to consider false dichotomies and spectrums of possibility.

Fischer graduated from York University in 2010 with a BFA Honours in Visual Art. Solo exhibitions of his work have been organized at O'Born Contemporary, Toronto (2009-2015) and Galerie BAC, Montreal (2014). In 2016 his painting 'Pet, Casper, and Hesperie' was shortlisted in the national RBC Painting Competition and many works are featured in noted private and corporate collections.

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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

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, TD Bank Group, and the‥
The Ontario Arts Council

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