artist statement
Trompe l’oeil and Abstract Art
Chuck Fischer’s abstract Tableaux Reliefs break the plane of two-dimensional art, and often incorporate trompe l’oeil painting. He creates textured and dimensional work that has been intricately hand cut and assembled from wood, aluminum, and copper to bring the surface of the work into conversation with its maze-like depth. Visual mystery is created by hiding sections of the work behind painted fabric which creates a lively interplay between perception and deception. Fischer occasionally places plastic figures within certain pieces to add an extra
layer of narrative and discovery for the viewer. This visual complexity runs throughout his work. In general Fischer does not sketch before starting a new piece, but trusts his intuition, life experiences, and the materials at hand to create works of spacial balance and harmony.
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Many themes could be said to be running throughout all artists' works in different ways. For some artists it is addressed through formal abstraction no less full of reference and signification. Viewers should take time to relish in the visual pleasure of how Chuck Fischer makes his work and the perceptual acrobatics at play.
Alex Klein
Senior Curator at the Institute of Contemporary Art
University of Pennsylvania
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Dimensional Harmonies: The Intuitive Forms of Chuck Fischer
Chuck Fischer’s work operates at the nexus of spatial form and conceptual narrative, where each piece unfolds as an exploration of material transformation and visual syntax. His practice engages with layered forms and textures, merging intuitive design with a meticulous attention to detail. Through a dynamic interplay of structure, color, and medium, Fischer's creations transcend their physicality, inviting viewers into a realm of aesthetic resonance and interpretive fluidity.
Rooted in a dialogue between traditional craft and innovative expression, Fischer’s art redefines the boundaries of two-dimensional and three-dimensional space. His compositions pulse with rhythmic geometries and interwoven planes, cultivating a balance between chaos and order, spontaneity and precision. This synthesis underscores his ability to evoke both immediacy and timelessness, rendering his works as immersive environments that challenge and expand the parameters of contemporary artistic discourse.
Thomas Ferleman, Phd www.ferleman.com
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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.
Casey Monda - Curator and art advisor
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