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Alex Fischer

Portfolio

Installs

Figures

Portraits

Celestials

Exhibitions

1, 7, and 6000

Lemon Keeper

Images larger than 60”

Images 24”—60”

Images smaller than 24”

2017

2016

2015

2014

2013

2012

2011

2010

Information

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Everything on artofalexfischer.com

Starnose, 2017, 57½”×40” mixed media install Starnose, 2017, 57½”×40” mixed media Starnose, 2017 detail Starnose, 2017, 57½”×40” mixed media
Starnose, 2017
Jamaraat Bridge, 2017, 120”×180” triptych edtion Jamaraat Bridge, 2017 Jamaraat Bridge, 2017 detail Jamaraat Bridge, 2017 detail
Jamaraat Bridge, 2017
Flood After Flood, 2017, mock install of 40”×60” edition Flood After Flood, 2017 4:6 at 40”×60” Flood After Flood, 2017 detail
Flood After Flood, 2017
Season V, 2016, mock install of 72”×48” paint on panel Season V detail, 2016 Season V, 2016 Season V, 2016, mock install of 72”×48” paint on panel
Season V, 2016
Rocinante and Blue Rider, 2016, 60”×48 ” edition Rocinante and Blue Rider, 2016, 60”×48” edition Rocinante and Blue Rider, 2016, detail
Rocinante and Blue Rider, 2016
Bramble Walker, 2017, mock install of 40”×60” edition Bramble Walker, 2017,40”×60” edition
Bramble Walker, 2017
Frankenstein's Real, 2017 Frankenstein's Real, 2017
Frankenstein's Real, 2017
Saturnine Clock, 2016 mock install Saturnine Clock, 2016 Saturnine Clock, 2016 detail
Saturnine Clock, 2016
Bathers Blues, 2017 Bathers Blues, 2017
Bathers Blues, 2017
Forage Through Absurdity With No Great Certainty To Find Paradise Is Other People, 2017
Forage Through Absurdity With No Great Certainty To Find Paradise Is Other People, 2017
Severen, 2017
Severen, 2017
Prometaphase, 2017 Prometaphase, 2017
Prometaphase, 2017
World Tulpa, 2017, mock install of 72”×60” edition World Tulpa, 2017
World Tulpa, 2017
Sea I, 2017, mock install of 75”×60” edition Sea I, 2017, 9”×7”, 40”×32”, 75”×60” editions Sea I detail, 2017
Sea I, 2017
Mangrove Up, 2012, 74¾”×45¼” edition Mangrove Up, 2017
Mangrove Up, 2012
Pod On the Hill, 2017 Pod On the Hill, 2017
Pod On the Hill, 2017
1, 7, and 6000 at O'Born Contemporary
Two of VII, 2015
Greens, 2012
Greens, 2012
Jame, 2012, one of two 22½”×15” editions Jame, 2012, one of two 22½”×15” editions
Jame, 2012
Straw Man, 2012, 96”×180” edition Straw Man, 2012 Straw Man, 2012, detail
Straw Man, 2012

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Statement

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.

Select Exhibitions

Talks and Interviews

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Inspiration

Artist Website

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

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

About This Website

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


A Rose Is A Rose Is A, 2017, one of three 12”×8.4” editions A Rose Is A Rose Is A, 2017, matte
A Rose Is A Rose Is A, 2017
Banana Plumage, 2017, 30”×24”, 9”×7” editions
Banana Plumage, 2017
Between You and Me, 2017, one of three 18.2”×14.6” editions
Between You and Me, 2017
Between Steps, 2017, 14”×11 ” edition
Between Steps, 2017
Chameleon Pro, 2017, 9”×7” AP
Chameleon Pro, 2017
Der Hirte, 2017, 11”×8½”, 22”×17”, 44”×34” editions Der Hirte, 2017, matte
Der Hirte, 2017
Frankenstein, 2017, 9”×7” AP
Frankenstein, 2017
Goes Down Easy, 2017, 9”×7” edition
Goes Down Easy, 2017
Ha, 2017, 9”×7” edition
Ha, 2017
Isle E, 2017, 9”×7” AP
Isle E, 2017

Albert Camus 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


Flood After Flood, 2017, 40”×60” edition Flood After Flood, 2017 detail Flood After Flood, 2017 install
Flood After Flood, 2017
Flood After Flood, 2017, 40”×60” edition
Flood After Flood, 2017
Alex, 2017, 11”×8½”, 22”×17”, 44”×34” editions Alex, 2017, detail
Alex, 2017
Andrew, 2017, 11”×8½”, 22”×17”, 44”×34” editions Andrew, 2017, detail
Andrew, 2017
Baasir, 2017, 11”×8½”, 22”×17”, 44”×34” editions Baasir, 2017, detail
Baasir, 2017
Baily, 2017, 11”×8½”, 22”×17”, 44”×34” editions
Baily, 2017
David, 2017, 11”×8½”, 22”×17”, 44”×34” editions David, 2017, detail
David, 2017
Emily, 2017, 11”×8½”, 22”×17”, 44”×34” editions
Emily, 2017
Holly, 2017, 11”×8½”, 22”×17”, 44”×34” editions Holly, 2017, detail
Holly, 2017
Jason, 2017, 11”×8½”, 22”×17”, 44”×34” editions Jason, 2017, detail
Jason, 2017
Justin, 2017, 11”×8½”, 22”×17”, 44”×34” editions Justin, 2017, detail
Justin, 2017
Lana, 2017, 11”×8½”, 22”×17”, 44”×34” editions Lana, 2017, detail
Lana, 2017
Richard, 2017, 11”×8½”, 22”×17”, 44”×34” editions Richard, 2017, detail
Richard, 2017
Sam, 2017, 11”×8½”, 22”×17”, 44”×34” editions Sam, 2017, detail
Sam, 2017
Lacunal Heights, 2017, 60”×40” edition Lacunal Heights, 2017, detail
Lacunal Heights, 2017
Lemon Keeper, 2017, 19”×25”, 10”×13¼” editions Lemon Keeper, 2017, mock install
Lemon Keeper, 2017
Mirror Projection, 2017, 9”×7” AP
Mirror Projection, 2017
Nettle Keeper, 2017, 21¼”×17” edition
Nettle Keeper, 2017
On, 2017, 20”×16¼” edition On, 2017, mock install brick On, 2017, mock install fireplace
On, 2017
Pale Rythem, 2017, 50”×40”, 9”×7” editions Pale Rythem, 2017, matte
Pale Rythem, 2017
Pod On The Hill, 2017, 50”×33½”, 25”×16¾” editions
Pod On The Hill, 2017
Pod On The Hill, 2017, 50”×33½” edition
Pod On The Hill, 2017
Portrait Landscape, 2017, 9”×7” AP
Portrait Landscape, 2017
Red Centre, 2017, 18”×14” edition
Red Centre, 2017
Sea I, 2017, 9”×7”, 40”×32”, 75”×60” editions Sea I, 2017, detail Sea I, 2017, install
Sea I, 2017
Sea I, 2017, 75”×60” edition
Sea I, 2017
Snakes and Lobbies, 2017 9”×7” edition
Snakes and Lobbies, 2017
Starnose, 2017, 57½”×40” mixed media Starnose, 2017, detail
Starnose, 2017
Tangled Bank, 2017, 36”×24” painting on canvas Tangled Bank, 2017, detail Tangled Bank, 2017, detail
Tangled Bank, 2017
Tangled Bank, 2017, 36”×24” painting on canvas Tangled Bank, 2017, 36”×24” painting on canvas
Tangled Bank, 2017
Tango, 2017, 9”×7” AP
Tango, 2017
untitled, 2017, 9”×7” edition
untitled, 2017
Who's Counting, 2017, 22½”×17½”, 9”×7” editions
Who's Counting, 2017
World-tulpa, 2017, 75”×60 ” edition World-tulpa, 2017, 75”×60 ” edition
World-tulpa, 2017
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, one of ten 14”×11” editions A Malinche Double, 2017, framed A Malinche Double, 2017, install
A Malinche Double, 2016
A Malinche Double, 2016, one of ten 14”×11” editions
A Malinche Double, 2016
Ghost Horse, 2016, one of three 15”×15” editions Ghost Horse, 2016, framed
Ghost Horse, 2016
In a Dream about a Ghost, 2016, one of two 72”×57½” editions In a Dream about a Ghost, 2016, detail In a Dream about a Ghost, 2016, install
In a Dream about a Ghost, 2016
Iron Lung, 2016, one of two 72”×57½” editions Iron Lung, 2016, detail Iron Lung, 2016, install
Iron Lung, 2016
Look Out Lucinda, 2016
Look Out Lucinda, 2016
Milne's Crossing, 2016, one of three 11”×14” editions Milne's Crossing, 2016, framed
Milne's Crossing, 2016
Night Outside, 2016, one of three 12½”×10” editions
Day Outside, 2016
Night Outside, 2016, one of three 12½”×10” editions
Night Outside, 2016
Pet, Casper and Hesperie, 2016, 48”×54” paint on canvas
Pet, Casper and Hesperie, 2016
Pet, 2016, one of three 12”×9⅗” editions
Pet, 2016
Casper, 2016, one of three 12”×9⅗” editions
Casper, 2016
Hesperie, 2016, one of three 12”×9⅗” editions
Hesperie, 2016
Pluck from the Brush, 2016, one of ten 14”×11” editions
Pluck from the Brush, 2016
Rocinante and Blue Rider, 2016, one of two 60”×48” editions Rocinante and Blue Rider, 2016, detail Rocinante and Blue Rider, 2016, install
Rocinante and Blue Rider, 2016
Saturnine Clock, 2016, 75”×60” edition Saturnine Clock, 2016, detail Saturnine Clock, 2016, install
Saturnine Clock, 2016
Save Cave, 2016, one of ten 14”×11” editions Save Cave B&WInfrared, 2016 Save Cave B&WBlue, 2016
Save Cave, 2016
Season V, 2016, 72”×48” paint on panel Season V, 2016, detail Season V, 2016, install
Season V, 2016
Super Seed B&WBlue, 2016, one of ten 14”×11” editions Super Seed, 2016, one of ten 14”×11” editions
Super Seed B&WBLUE, 2016
Thistlee Keeper, 2016, one of three 21¼”×17” editions
Thistlee Keeper, 2016
Wave V, 2016, one of ten 14”×11” editions
Wave V, 2016
Willow Fire, 2016, one of ten 14”×11” editions
Willow Fire, 2016
With Picabia's Hand, 2016, one of ten 14”×11” editions
With Picabia's Hand, 2016
With Picabia's Hand earlier, 2016, one of ten 14”×11” editions
With Picabia's Hand earlier, 2016

Exhibition: 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


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

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

Exhibition: 1, 7, and 6000
solo exhibition at O'Born Contemporary

(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.


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” edition
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
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary
1, 7, and 6000 at O'Born Contemporary

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

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

VII 6000 Arch, 2015
A 82”×48”×40 ” 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
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” editions
Angler, 2014
Aviary, 2014, one of five 30”×27” editions
Aviary, 2014
Garden Spell, 2014, one of five 17”×17” editions Garden Spell, 2014
Garden Spell, 2014
George's Cuttlefish, 2014
George's Cuttlefish, 2014
Inside The Faberge Egg, 2014, one of two 25”×20” editions
Inside The Faberge Egg, 2014
M, 2014, one of two 20”×16” editions
M, 2014
Moore, 2014, 75”×60 ” and 37½”×30” editions
Moore, 2014
On Cotton, 2014, 15”×12” edition
On Cotton, 2014
Parlor, 2014, one of two 30”×24” editions
Parlor, 2014
Planet Print, 2014, one of two 17”×17” editions
Planet Print, 2014
Supersymmetry II, 2014, 96”×96” edition Supersymmetry II, 2014 Supersymmetry II, 2014 Supersymmetry II, 2014
Supersymmetry II, 2014
Wish You Were Here, 2014, one of three 20”×16” editions
Wish You Were Here, 2014
Wizard Eyes, 2014, one of three 12½”×10” editions
Wizard Eyes, 2014
A General Impression, 2013, 11”×8½” exhibition AP
A General Impression, 2013
Ammonite, 2013, 27”×15”×40” mixed media sculpture. driftwood, clay, silicone, cotton, paint, glass, plastic, foam, acrylic, steel
Ammonite, 2013
Blood Bowl, 2013, one of three 15”×12” edition
Blood Bowl, 2013
Brush Wor, 2013, one of two 20”×16” editions
Brush Work, 2013
Disc, 2013, 96”×48” AP Disc, 2013 Disc, 2013 Disc, 2013
Disc, 2013
Feather Feeder, 2013, 36&frac25”×42;” exhibition AP
Feather Feeder, 2013
Flesh Fruit, 2013, one of four 10½”×8” editions
Flesh Fruit, 2013
Jewel Fruit, 2013, one of four 11”×8½” editions
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
Jelly Portrait, 2013
Lichen, 2013, 35”×35”×75” mixed media sculpture Lichen, 2013
Lichen, 2013
Loop (Santiago), 2013, 43”×34” AP Loop (Santiago), 2013
Loop Santiago, 2013
Markered Market, 2013, 18”×28½” edition and two 12”×19” editions
Markered Market, 2013
Mouth, 2013, 96”×144in digital painting Mouth, 2013, 96”×144” exhibition dye sub on textile Mouth, 2013 detail Mouth, 2013 detail Mouth, 2013 detail
Mouth, 2013
Nervous System Preserver, 2013, 13¾”×13¾”×2¾in nylon 3d print
Nervous System Preserver, 2013
Ready To Ooze, 2013, 63⅛”×37⅝” AP Ready To Ooze, 2013 install Ready To Ooze, 2013 install
Ready To Ooze, 2013
Seeding, 2013, 21”×14” exhibition AP
Seeding, 2013
Shellfish Cells, 2013, 9⅝”×7⅝” exhibition AP
Shellfish Cells, 2013
Similar Image Object (b), 2013, 15¾”×47¼ screenprint on mirror
Similar Image Object (b), 2013
Untitled Head, 2013, one of two 24”×21⅗” editions
Untitled Head, 2013

Exhibition: Dry Pixels And Wet Molecules
solo exhibition at O'Born Contemporary

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


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

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

Exhibition: Beyond The Fall
solo exhibition at Galerie BAC & O'Born Contemporary

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


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

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

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

Exhibition: Smarter Today
solo exhibition at O'Born Contemporary

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


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

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

Archives to come...