黑料不打烊

Marshaling a dizzying variety of materials and methods, Fischer explores themes of perception and representation. He distorts scale and reimagines common objects and images through technological intervention, reworking historical genres and motifs while embracing transformation and decay. In After Nature, Fischer presents a new suite of paintings on aluminum depicting dust salvaged from his studio floor, a large-scale soft sculpture of a reclining female figure, and an interactive video installation.

Irresistibly recalling Man Ray鈥檚 photograph Dust Breeding (1920), which captures the buildup of grime on the surface of Marcel Duchamp鈥檚 The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915鈥�23), Fischer鈥檚 eight new dust paintings pick up where his works with the same subject from 2007鈥�10 leave off. Both closely related bodies of work have a sculptural heft, but the panels on view in Rome exhibit a more handmade feel than their predecessors. The partly screenprinted images鈥� polished grounds reflect the gallery鈥檚 interior and view of the sky, while their chaotic distribution of dust particles evokes an arid landscape or the scatter of stars across the firmament. These parallels establish the operation of a mesoscopic scale, bridging the gap between microscopic and macroscopic phenomena.