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
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.
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
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.
Made after visiting several NYC art fairs in the days leading up to the first COVID-19 lockdowns.
We may imagine variants on how things meet and diverge, invisible fields, false dichotomies, gravities and bloomings. The sense that through pollination things may become more than what they have been.
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.
Blackfoot, 2011, 15 × 9 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
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.
Artists Image, 2011, 11 3/4 × 8 5/8 inch giclée on Epson Enhanced Matte, White Gator, Framed
The Infant and The Garden Hose, 2011, 47 × 47 inch light jet on Fuji Crystal Archive Flex 255gsm, Plexi
Alex Fischer, Solo Exhibition
October 28 – December 4, 2010
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 own uniqueness, 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.
Smarter Today is Fischer’s debut solo exhibition with O’Born Contemporary.
(RIGHT) Cooks Cape 2010 60 × 84
Artists Retreat, 2010, 16 × 14.7
Grandfather Wreath, 2010
(LEFT) Untitled Greens, 2010, 15 × 20 in
(RIGHT) Figure Head, 2010, 57 × 55 in