Dracula

Detroit Lemon Tea & untitled greens

Some spry spritz and rise from hot plasma and cold ocean swells. Just a taste. Lemon Tea and untitled greens are paired together here as light box imagery and conceptual bridges. These are a likening to worlds between worlds and of our presence and the gestures we make being an inseparable aspect of the places we visit.

Willow Checker

There was a willow that hung over the farmhouse that I grew up in, but it was cut down when I was still quite small. Despite knowing its stump well I think a part of me is still looking for that tree.

Isles

Miami Pairs Pop-up

Blue Parrots, 97½ × 132 in digital lightbox
Untitled Pairs, 97½ × 132 in digital lightbox

When does a soul become dyed with the color of its thoughts? These large images both face themselves and face away. Reaching and spiraling both inward and upward, they are poised and revealed, always re-centering on some in-between space and embracing a warmth of details to call their own. 

Untitled Pairs and Blue Parrots are exhibited alongside a selection of works by Saimaiyu Akesuk, curated by NAMARA for the Canada Goose Miami Pop-up.

Saimaiyu Akesuk, Mating Birds, 2023, coloured pencil and ink
Saimaiyu Akesuk, Love in in the Air, coloured pencil and ink
Saimaiyu Akesuk, Polarbird, 2023, coloured pencil and ink

Beijing 作 为一只 鸟 As a Bird

Taikoo Li Sanlitun, Beijing. Two figures, two artists, Saimaiyu Akesuk’s Rippling Birds and Sparkling Bird are here intersected by Alex Fischer.

Saimaiyu’s confident drawings with bold and dynamic simplicity are rendered with soft tenderness and often a touch of whimsy. Alex’s fashioning of Saimaiyu’s characters into models here amplifies their presence.

A presence of standing being sensitive to the waves and stars. A proud character.

作 为一只 鸟 As a Bird, 2023, 84 × 58 × 58 inches, water cut aluminum with printed and painted surfaces.

Dublin Portal

Shadow Integration as a delicate digital folding. The world swirls around the conscious persona. But here we are, gazing into the gray, not in it but with it. Witnessing the surplus of reality that resists.


Commissioned as a part of the NAMARA curated Canada Goose art collection in Dublin, Ireland along with a custom Fischer assisted textiles of original artworks by Ningiukulu Teeve and Quvianaqtuk Pudlate as well as a selection of other drawings and prints by Kinngait artists.

ART SHOW @ NAMARA projects

Daisy Chain, M, untitled 220201-180902, and Coronas (NAMARA Projects, ART SHOW)
Daisy Chain, M, untitled 220201-180902 (NAMARA Projects, ART SHOW)

A curated exhibition at the NAMARA Projects space, that took place October 22, 2022 — January 6, 2023. The works were selected from across several bodies of work and informed by the following tenets:

Practice here involves a persistent discovery and wielding of new creative tools, strategies, and ideas.
An aim to reveal the hybrid and fluid nature of things. 
This body is mine but I am not my body. 
Art is an unlikely extension of nature. 
Assistance as a partnership. 
Perspectivism reigns.

untitled, 2022-191219 in ART SHOW @ Namara Projects
Daisy ChainMuntitled 220201-180902Coronas, and Summer Fleece in ART SHOW @ Namara Projects
Summer FleeceWaves, and Room 15 2 in ART SHOW @ Namara Projects
Summer FleeceWavesRoom 15 2, and As the Sea Curves in ART SHOW @ Namara Projects
Room 15 2As the Sea Curves, and Homo Deus in ART SHOW @ NAMARA Projects
As the Sea CurvesHomo DeusDive, and Blue Lei in ART SHOW @ Namara Projects

I have been witnessing Alex Fischer’s practice throughout their professional career. Technology has always been instrumental to the artist’s process and its impact is evident in the content of resulting printed works. Fischer addresses narratives around technological production, online personhood, and digital authorship. These remain significant to the artist’s practice and hold new consequence in the age of tokenized digital art.

Equally important are the tethers Fischer maintains to traditional art and in particular, conventions of painting. The artist employs myriad digital brushstrokes. Textures, palettes and implied hand are sampled from historical and contemporary works alike. Fischer amalgamates manifold style, resulting in one that is undeniably their own. The artist’s oeuvre is in tension with itself. Seemingly unwilling to give in to digital tropes, visual language is neither a challenge nor concession to prevailing digital modes of artmaking.

Unlike previous series, collections or exhibitions, Art Show brings The Body to the fore. Dynamism characterizes youthful bodies, absorbed into their surroundings–or maybe not. Perhaps the figures are in fact emerging from their conditions. Are these scenes of struggle or performance? Are these avatars labouring within the digital space in which they were conceived–Seeking to separate, or at least to distinguish form from matter?

Fischer does not provide an answer. They embrace the “hybrid and fluid nature of things.” The artist plays with convention and embraces uncertainty. They point to the humanity in digital space without succumbing to it. Even in the more abstract compositions, the audience recognizes certain reflections: Eyes, limbs, movement, and flesh are present but more or less entwined with place.

Disentangling is work for the viewer.

Natalie MacNamara, Principal & Creative Director, NAMARA
Beside Two Hemispheres Called A Brain, 2022-190720, a unique 11×8½inch glossy gicleé with oil pastel, 16×13½ inch matted and framed.
M, 2022-140829, a unique 28×22½ inch matte gicleé mounted to aluminum, 30×24½ inch framed.
Waves, 2022-211217, a unique 12×7⅘ inch matte gicleé, 17;×12⅘ inch matted and framed.
Room 15 2, 2022-210428, a 49×40 inch exposure on 53×44 inch Fujiclear mounted acrylic, suspended
Coronas, 2022-200309, a unique 32×40inch matte gicleé mounted to aluminum, 34×42 inch framed.
Daisy Chain, 2022-220202, a unique 28×41½ inch matte gicleé mounted to aluminum, 30×43½ inch framed.
As the Sea Curves, 2022-180310, a unique 32½×26inch inch matte gicleé, 41½×35 inch matted and framed.
Blue Lei, 2022-150913, a unique 19×15 inch matte gicleé, 28×24 inch matted and framed.
Homo Deus, 2022-171224, a unique 87×58 inch matte gicleé mounted to aluminum.
Dive, 22022-220811, a unique 72×58 inch matte gicleé mounted to aluminum.

Giving Entry @ NAMARA projects

Giving Entry
at NAMARA projects


Curated by Natalie MacNamara
July 9 — September 10, 2022

an exhibition featuring works by
Michael Dumontier + Neil Farber,  Alex Fischer, Nelson HenricksRick LeongZachari LoganTerran McNeelyJohn MonteithJanet MortonDainesha Nugent-PalacheNicotye SamayualieKristin SjaardaWinnie TruongEmma WelchXiaojing Yan

Giving Entry is an exhibition of works by artists who employ flowers or floral motifs in considerations of social, philosophical, and political subjects. What matters most is the embeddedness of these blooms in their particular stories. Within this exhibition, flowers are put to work symbolically in varied artistic inquiries. Counting among them are built narratives around equality and difference; history, memory, and temporality; environment and climate; speculation and the supernatural.


Other exhibition images, photos by Alex Fischer