The mediation of two or more lines into a meaningful and pleasing whole
My work is composed of textured abstractions encompassing a broad spectrum of color and materials where the layering runs deep. One can get lost in the meditative mazes created through the repetitive use of independent abstract forms like one can lose oneself in a piece of music. I intuitively fuse disparate elements together in an expressive counterpoint, as I simultaneously combine multiple textured parts, each forming an individual statement while harmonizing with each other.
I possess a strong belief in the Bauhaus’ fundamental theory of creating total works of art, in which all the arts, including architecture and design, exist on equal footing. I use copper and aluminum as the foundation materials for both my mixed media constructions and sculptural assemblages as I create, a reflective conversation, both literal and emotional, with each piece. Breaking the boundaries of a two-dimensional art practice, I use the inherent motion encompassed in geometric shapes to act as the portal to unexpected dialogue and interpretation. I trust, intuition, chance, and the materials at hand to resolve the use of the perfect geometric shape with imperfect, abstracted elements to create works of truth and harmony.
Commentary by Casey Monda - Curator/Art Advisor
Fischer committed to a full-time studio practice only in 2016. He has some architecture background and has published several pop-up books, and both of those visual languages seem to linger in Fischer’s layers upon layers of intricate geometric components painstakingly painted and textured before being attached to the composition. And yet he works spontaneously and by instinct, so he doesn’t make any sketches or have a composition in mind before he approaches a blank canvas. His materials are somewhat humble, just things you could find in a typical art supply store or hardware store, and he is always looking for new and interesting surfaces to play with. Ultimately this work is about harmony and finding the balance among all these disparate elements. Chuck said that he likes to start with maybe a shape or a color and build from there, adding surprises along the way and finding the way to make it all come together. He calls these surprising elements the counterpoints, a musical term that can aptly be applied to these lyrical, no symphonic, images. The layering runs deep, and one can really get lost in the mazes he creates just like you can lose yourself in a piece of music.
In fact, comparing Chuck’s work to music is really the best way to describe them. They are musical, meditative mazes that allow a viewer to roam freely throughout finding new passages and ways through. They beckon you to get lost inside the maze, but not in an ominous way. There is at once the thrill of discover and the peace that you are in a safe space. And just like music, every time you approach Fischer’s work, you’ll find something new.
You can check out some of his work at Bonfoey Gallery, and he’ll also be in the upcoming Artist Archives show, Converge, opening August 2021.