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.
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.
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.
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.
Photo by Joas Souza
Photo by Joas Souza
Alex Fischer: 24 hour animation loop on a 18’×9′ LED Video Display
Polymetis landscape waveform: 20’×60′ polymer, steel, lights
In the summer 2021 Canada Goose commissioned artist duo Polymetis and Alex Fischer to create an installation for a 20’x60′ public window display in the heart of Harbin China. Historically, in ancient China, “Situ” was one of the highest-ranking government offices, with an original translation meaning Administrator of Land. As artists we perform a similar survey on the natures from which we bear witness.
presented as a looped 24 hour 18’×9′ LED at Harbin Charter Mall, Harbin, China
The situation of this landscape is an urban setting flanked by billboard graphics, sidewalks, and major daily traffic. With repeat passings likely, the animation, a monolith of light on a 1-hour loop, is intended to appear as an assortment of abstract views. While there may be more depth found in repeat or longer viewings, the content of this animation comes across at any glance. The scenes transition at the pace of slow deep breaths with a steady calm and effervescent rhythm of rivers, fields, and the night glow of local festivals.
Inspired by the work of Qavavau Manumie.
Canada Goose commissioned ᐃᒻᒪᕕᒻᒥ Upon the Sea 海上 for their flagship Shanghai location. This piece was designed with the building facade in mind, as a way of creating a unique artist presentation, viewable from the store interior and exterior, alike.
A suspended sea plant landscape of where the ocean meets the land. A convergence. Fischer used linework from traditional Chinese landscape painting, illustrations of neuronal bridges, and representational elements from Manumie’s drawing practice.
Shanghai is located where the confluence of two rivers meets the Pacific ocean. The piece is intended to be an embodiment of where different worlds meet referring both to Canadian culture in China, and Southern Canadian and Inuit cultures represented in this piece.
Qavavau Manumie’s drawings are the seeds from which Story Tree has grown. Manumie’s work is idiosyncratic and often amusing in his depictions of Inuit legends and mythology, Arctic wildlife and contemporary aspects of Inuit life. It is through this lens of cultural wisdom and whimsy that Alex Fischer has interpreted Manumie’s drawings for Story Tree. Equally significant is the influence of Kenojouac Ashevak, and Inuit art forebears to Fischer’s practice of digitally collecting, collaging and redrawing a site-specific tribute with a presence of its own.
Through the simplest means of bi-fold asymmetry, Fischer has planted Manumie’s drawings in physical space. Story Tree brings together distinct Northern and Southern perspectives with the mind of the viewer as their integral subject.