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 @ 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.


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

Smarter Today @ O’Born Contemporary

Smarter Today

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.

(LEFT) The Invisible Man Returns 2010 47.88 × 32.00
(RIGHT) Cooks Cape 2010 60 × 84
Cooks Cape, 2010,
Trouble on Volcano Sundae, 2010,
Artists Retreat, 2010,
Trouble on Volcano Sundae, 2010, 16 × 14.7
Artists Retreat, 2010, 16 × 14.7
Grandfather Wreath, 2010
Three Fates, 2010, 60 × 92 in
(FAR LEFT) Bring Home the Bacon, 2010, 15 × 20 in
(LEFT) Untitled Greens, 2010, 15 × 20 in
(RIGHT) Figure Head, 2010, 57 × 55 in
Bring Home the Bacon, 2010,
Untitled Greens, 2010,
Knight (installed)
Teen Dream
Monster Mash
Good Grief
Fungus Philosopher
Knight (installed)