Henri’s Well, 2018
Canadian inhabitant Alex Fischer is a contemporary painter whose digital expansion of the fine art world dramatically pushes the boundaries of how art is translated and perceived in today’s realm. Born in 1986, the visual artist lives and works in Toronto, employing his practice that constitutes the creation of digital-image execution that beholds an extension of traditional artistic media. Whilst as an occupation Fischer acknowledges himself as a painter, it is in fact in reality that his paintings are created entirely using Photoshop, employing a modern practice, thus blurring the lines of a traditional painter.
Fischer’s working method includes discovering material that is scanned and downloaded to then be cut up, layered, and artfully collaged together to establish entirely innovative portraits and landscapes. Fischer’s aesthetics that act as archival quality limited editions, are printed and framed and intend to differentiate the borders of media, defy the spectator’s expectations, and allow folk to arrive into conversations with regard to our culture and nature.
Fischer uncovers compositions and deciphers meaning amid the process of creating. Through a combination of conscious and unconscious energies, each piece is distorted into existence via techno-biological coincidence. He discovers obscure light amid the flow of the work and seizes it, often paints albeit predominantly pixel.
Despite many people acknowledging the artist’s outcomes as incredible, the nature surrounding their digital making fails to traditionally apprehend this height of abstract expressionism, nor does it characteristically create an impact through the world of gallery art. Instead, spectators are quick to understand, however, that Fischer’s aesthetics encompass no trace of typical qualities what so ever. As a result, his artworks employ a sense of incredible diversity of original and intoxicating qualities, features that set him apart from other artists.
Blood Bowl, 2017 detail
Words by Katie Farley