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

Bending Towards the Sun @ YYZ

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

Curated by Veronika Ivanova, Bending Towards the Sun is a fundraising exhibition in support of YYZ. On view from Saturday 30 March — Saturday 4 May, 2019. “Bending Towards the Sun” celebrates YYZ Artists’ Outlet—their growth and transformation over the past 40 years, and their resilience and ability to thrive in a climate increasingly hostile to cultural work.

Right to Left:
(1) Alex Fischer “Super Seed BW&Blue” 2016 Giclée on HP Matte Litho-realistic paper 14 x 11” (framed) Edition 3 of 5. (2) Garrett Lockhart, “Buzzin’” 2018 laser print on cotton, assorted wild ower seeds, reclaimed rotten pine 5 1/2 x 7 1/2” (framed). (3) Liam Crockard, “Broom” 2014-2015 Plywood, formica, bristles 58 x 16 x 2 1/2”. (4) Grayson Alabiso-Cahill, “Dundas and Dovercourt, August 2018” 2019 c-print 11 x 14” (framed). (5) Aaron Jones, “Police Sport Du Rag” 2018 Paper Collage 29 x 39” (framed). (6) Liam Crockard, “Lesser Odds” 2018 Losing Scratch Lottery Tickets, Yamato Paste, Tape, Cardboard 13 x 8”. (7) Sean Stewart, “Flora and Creosote” 2018 steel 80 3/4 x 26 x 16”.

With the mild wind, with the first rain showers
the alder bark swells, and pale green
colors the bushes.
And by the brooks, by the sudden sprung black ditches running with foaming cold snow water, 

in the pits, in wet underbrush,
in pools of water –
the pussy willows begin to bleach and yellow.
In the air a cool dampness, the smell of frost and wind,
but soon the water in the ditches will drain, the pastures will dry, and by the rivers, in the ditches, in wet bogs
will spring up clusters of yellow marsh marigolds.
The whole yard smells: of new buds,
boards stacked in the sun,
light frost – and gutted potato pits,
the smell of fresh new grass.
And the faintest breeze brings from the bushes
the smell of alder and juniper,
and smell of fresh buds, catkins and leaves;
and from the fields – the smell of fresh water,
of drying meadows, foamy crusts,
the first coltsfoot, swallowwort, dandelion,
the smell of flooded ponds, the sun’s warmth, and the last
of the dirty snow lying in the loamy ditches.
And when from the bushes yellow with golden catkins
drifts the first whistling on alder bark fifes,
– gentle tapping with a knife-handle –
ah, now really the winter won’t come back – now it is spring!

JONAS MEKAS, HOW SWEET THE SMELL OF SPRING
Courtesy of the estate of Jonas Mekas (1922–2019)

Right: Hanna Hur “Fever ii” 2017 watercolor, china marker and color pencil on linen 30 x 40”

“Again today I watched you leave and tried to follow. Found nothing but darkness in your wake. Granulated by your absence like a lover newly acquainted, now I only hope you’ll stop by again tomorrow. Fruitless is to chase you, somehow you always wind up at my back, Dawn’s fingers waltzing over my shoulders onto my breast. Neck of a crane, these swollen eyes are pried open. Why do you demand my pivot? that I remain dancing circles for you? Why mock the path straight and narrow, it’s been many times I’ve practiced this dance so, why, over? again I dream that I follow you, beyond the edge into the unknown. On a pathway where the light never escapes me, not over the horizon’s selfish ambit, out of view. We could see this as progress, no? I do like to keep moving, I do have trouble staying any one way for too long. I’ve always fought reliance on habituation, cycles are suspects in the transgression of living just once. Oh yes I’m being dramatic as always but it’s a recipe of your making. Could we not just learn to talk like adults about this? Then you’d say to me, “in the endless pursuit of this imagined, faultless life, you may waste so much time running, breathlessly, trying to catch me, that you’ll never sit long enough to know the pleasure of a butterfly picking you as its place to land.” It is a lesson of circuits: energy produced in a self-reliant loop that seldom tires of itself. I remember now that restlessness is exactly what destines Orpheus to a heart full of darkness both by night and day. That is, it is not you who spites me, but myself. You watch from behind, the choreography of how I dance thru darkness to find light. With a face to the moon, I bend towards you, sun.”

KATE KOLBERG, A SUN CARD REVERSED IS STILL A SUN CARD
Jana Sterbak, “Distraction” 1992 C print 19 3/10 x 14 1/5” (framed) Edition 13 of 15
Laurie Kang, “Carrier (Worm)” 2018 stainless steel mixing bowl, pigmented silicone, cast aluminum, powermesh 19 x 19 x 5.5”
Background: Darby Milbrath, “Milkmaid” 2016 oil and natural pigments on linen 16 x 18 x 1”, “Still life with Trilliums and Maple Leaves” 2018 oil on canvas 14 x 16 x 1”.
Foreground: Trevor Mahovsky & Rhonda Weppler, “The Known Universe” 2017 pigmented polymerized gypsum, epoxy, steel, cheesecloth 198 x 133.5 x 53.5 cm
Walter Scott, “Tanya Dognelly” 2017 colored pencil, grease pencil 14 x 17” (framed)

1, 7, and 6000 @ O’Born Contemporary

1, 7, and 6000

Alex Fischer, Solo Exhibition, O’Born Contemporary
February 2015

(1) On the occasion of Alex Fischer’s fourth solo exhibition with O’Born Contemporary, he problematizes the “single image” by its very conversion into multiple, nearly identical forms. A digital original is here reproduced as 1 digital print, 7 large oil paintings, and 6000 small acrylic paintings. Through this multi-modal exhibition, Fischer deliberates on the nature of art with its value systems and capitalist patrimony.

Current agricultural trends demonstrate that when tomatoes are grown, the aim is to direct natural processes, taking agency over evolution. Like all biological species, the tomato plant contains a genetic copy of itself inside every cell of its being. Repetition and versioning are as much a rule in agriculture as they are in human life. Conversely, uniqueness and independence of mind are selling points when it comes to art. There is an established value in originality.1.

(7) Each of the 7 oil paintings was completed by an equal number of painters working in Xiamen, China. Fischer puts the work of these trained hands in direct visual argument with the mechanically reproduced print: he suggests deliberation about the capitalist mechanism and simultaneously entertains his moral ambiguity within this landscape of unapologetic consumptive socio-culture.

The controversy here may be in the fact that Fischer criticizes the capitalist system by highlighting elements that are uncomfortable to acknowledge while fully engaging with capitalism’s ideologies through the kaleidoscope of fine art and its market. He grows the pieces, puts them under optimal lighting, and creates versions at price points to invite the viewer to buy.

(6000) An arched shelf bolsters 6000 small sheets of thin, transparent plastic. Hundreds have already been painted, revealing that they exist as an assemblage of tiles that, when properly arranged, mimic their parent image.

Artwork as a commodity is not valuable per se– its value is the result of an ongoing and never ending social negotiation. That being said, the work of art, and painting specifically, is an object that bears a concrete, almost measurable evidence of labour on its surface.2. Paintings are worked over and leave a trace of the individual mark maker. Each edition in 1, 7, and 6000 shows on its surface the inevitable difference made during translation between parent image and end product. Each image is the real thing.

1. This idea is commensurate with remarks issued by Ben Davis: It is the “uniquely middle-class nature of creative labor in the visual arts [that] would seem to explain its alternative emphasis on the individual, that is, on the virtues of personality and small production, as well as a whole host of other stylistic tics and affectations(…) visual art’s characteristic questioning or ironic attitude; the value of the artist’s signature and the “artist’s statement” that are associated with it.” Davis, Ben. 9.5 Theses on Art and Class – Commerce and Consciousness. Chicago:Haymarket Books, 2013. PDF file.

2. Graw, Isabelle. Thinking through Painting – Reflexivity and Agency beyond the Canvas. Sternberg Press, 2012. Page 56.

VII giclée, 2015
VII 冯声贵 Feng Shui Gui
VII 叶安 Ye An
VII 林建 Lin Jian
VII 江明 Jiang Ming
VII 陈山 Chen Shan
VII 陈文波 Chen Wen Bo
VII 陈秋林 Chen Qiu Lin

82 × 48 × 44 inch acrylic, aluminum, and steel

Beyond The Fall @ Galerie Bigué Art Contemporain

Island, 2011, 24 × 48 in inch giclée on Epson Enhanced Matte, White Gator, Framed

Beyond The Fall
Alex Fischer, Solo Exhibition, Galerie BAC

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

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

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

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

Island, Daily install
Daily, Paradise, Beyond The Fall install
Paradise, 2011, 15 × 11 3/8 inch giclée on Epson Enhanced Matte, White Gator, Framed
Island, Daily, Paradise, Beyond The Fall install
Beyond The Fall, 2011, 43 × 64 inch light jet on Fuji Crystal Archive Flex on Dibond, Framed
Good Grief, 2010, 22 × 16 inch giclée on Epson Enhanced Matte, White Gator, Framed
Blackfoot, 2011, 15 × 9 1/8 inch giclée on Epson Enhanced Matte, White Gator, Framed
Good Grief, 2010, 5280 × 3840 pixels
Blackfoot, 2011, 4500 × 2742 pixels
Adobe Mask, Myrrha install
Adobe Mask, 2012, 5600 × 4518 pixels
Myrrha, 2011, 9 7/8 × 7 1/2 inch giclée on Epson Enhanced Matte, Black Gator, Framed
Beyond The Fall @ Galerie BAC
Cooks Cape, 2008, 15000 × 21000 pixels
untitled (Kind of Blue), 2011, 11 1/8  × 13 1/8 inch giclée on Epson Enhanced Matte, White Gator, Framed
Aurora, 2011, 12 × 12.6 inch light jet on Fuji Crystal Archive Flex on Dibond, Framed
Cooks Cape, 2008, 60 × 84 inch giclée on Epson Enhanced Matte, White Gator, Framed
untitled (Kind of Blue), 2011, 3934 × 3342 pixels
Aurora, 2011, 4410 × 4200 pixels
Cooks Cape, Parrots install
Parrots, 2011, 60 × 84 inch giclée on Epson Enhanced Matte, White Gator, Framed
Supercollider, 48 × 48 inch light jet on Fuji Crystal Archive Flex, Dibond

Beyond The Fall @ O’Born Contemporary

Straw Man, 2012, 96 × 180 inch matte gicleé

Beyond The Fall
Alex Fischer, Solo Exhibition, O’Born Contemporary
February 4 – March 10, 2012

Artists must take responsibility for representing the time in which they live.

The images of Beyond The Fall come from what has become the predominant first-world interface: The personal computer and internet capable device is now the primary filter by which broad swaths of people interact and know themselves. These technologies have the ability to snake our attentions, beliefs and desires, influencing cognition and our experience of the world.

In order to represent these paradigm shifts, Alex Fischer reifies the low-culture of individualistic habits and persuasions to be in dialogue with the ripe philosophy of high art. His chosen medium of digital collage perfectly compliments his artistic process, by which he paints together images from a collection of digital sources. Each piece concedes to multiple interpretations due to Fischer’s choice to obscure the visual space of the image into near abstraction. The narratives encompass characters, scenes, and symbols with all of their ambiguity, insight, and metaphysical baggage on display. The content originates from their adaptations to and the impact of this current age.

Listing.pdf

Straw Man, cell pattern, Beyond The Fall, Purple Jesus install
Purple Jesus, bow, Supercollider, Greens install
Supercollider, 48 × 48 inch light jet on Fuji Crystal Archive Flex, Dibond
Purple Jesus, bow installed
bow, 2012, 15 1/2 × 23 5/8 light jet on Kodak Endura Metallic, Dibond, Framed
Purple Jesus, 2011, 3048 × 3145 pixels
Purple Jesus, 2011, 13 1/8 × 12 3/4  giclée on Epson Enhanced Matte, Black Gator, Framed
Myrrha, 2011, 9 7/8 × 7 1/2 inch giclée on Epson Enhanced Matte, Black Gator, Framed
Artists Image, 2011, 11 3/4 × 8 5/8  inch giclée on Epson Enhanced Matte, White Gator, Framed
Myrrha, 2011, 1725 × 2277 pixels
Artists Image, 2011, 2080 × 2835 pixels
bluenose, Parrots, Myrrha, Artists Image
Parrots, 2011, 60 × 84 inch giclée on Epson Enhanced Matte, White Gator, Framed
bluenose, 2011, 15 × 11 inch light jet on Fuji Crystal Archive Flex on Dibond, Framed
The Infant and The Garden Hose, 2011, 15300 × 15300 pixels
Beyond The Fall, 2011, 43 × 64 inch light jet on Fuji Crystal Archive Flex on Dibond, Framed
The Infant and The Garden Hose, 2011, 47 × 47 inch light jet on Fuji Crystal Archive Flex 255gsm, Plexi
Beyond The Fall, 2011, 14720 × 9907 pixels
Aurora, installed
Aurora, 2011, 12 × 12.6 inch light jet on Fuji Crystal Archive Flex on Dibond, Framed
Aurora, 2011, 4410 × 4200 pixels