LOGIC TRIANGLE
CONTINGENCY PAINTINGS

Painting was never autonomous. It was always contingent. Nature is a great reminder. When I paint outside and look at trees I’m reminded of how contingent forms seem to be on the space around them. As a painter, it’s my job to collapse that space, air and light. This process is a revelation for two reasons: air has mass, and forces you can’t see act on reality. I’m not talking about spirits, through I’m into it. I’m talking about gravity, mass and time. They run everything. My found object paintings remind me of the nature of this reality. Everything is hung and suspended and unattached. Cells fall apart, leaves slip. It’s terrifying to me and feels more so lately.

Coronavirus yells at us “wake the fuck up!” Too many planes, I guess, too much abuse. An 83 year old friend of mine says we are suiciding. Period. The heat, the bugs, the bug, it’s like the whole theme of my adult life is turning out to be about a grey heavy end.

Nature persists though and is exquisitely beautiful. The work I’m doing with found objects and nature combined is maybe getting at some sense of a precarious contingency. They are not disembodied picture planes, but forms derived from the architecture of a tree with a contingent friend, a contingent meaning. A real thing, plastic, wood, antique or new, with the support as a hanger for image and object. They are separable and/or together. Yes, you could just take the thing off, yes it could blow off in the wind, or be ripped off, but isn’t that what makes it real?


-Matthew Fischer

MDF

Self-Portrait as a Moss-Covered Tree, Matthew Fischer, 2019, oil on panel 

SOLO SHOW TEXT

MEZZO   OCTOBER 2019

New York, NY


After weeks of observational painting in the woods last summer, I felt very connected to the trees

I was looking at. I was especially in love with a big moss-covered Ash tree. The moss was so
beautiful and made the tree look historic and unified with the forest floor. The moss was like
paint itself, patches of color jumping off the ground to claim and cover. It erased the boundary
between figure and ground. I had this idea that if I could become moss-covered I could erase the
boundary between plant and animal, and heal some old wounds. I could be quiet and inert and
literally blend in. To me the moss was the ultimate sign of belonging.
BUG BOX

SUMMER 2019


The northern Wisconsin land where I paint in the summers was wetter than normal this year and the mosquitoes became an insurmountable obstacle. It was impossible to paint outside, so my dad built a screened structure onto a trailer I was already using as a mobile working platform. I affectionately named it the “bug box.” It was a practical miracle. I could be outside, looking at trees and fields and passages of light for hours, without the aggressive attack of the wetland mosquitoes. It made my green summer paintings possible. Over the course of the summer, the bug box became a local legend, a metaphor machine and a conversation starter. The box came to symbolize a few different things for me. It was a reminder of nature’s own will to fight back, a structural echo in my paintings, and a physical metaphor for my own guarded feelings as a queer and awkward artist back home in rural America. Though the screen was a veil between me and nature, it was also my protector and paradoxically made me feel more connected to nature by making me feel safe and by giving me time to see and think. I wished I had a bug box to take with me to social situations as well.

A good friend who’s an organic farmer said mosquitoes will bring the first wave of climate
change epidemics. The bug box represents a future necessity to vigilantly protect ourselves from
nature. It also references age-old desires to control, design or make reason out of nature; the
screen, literally a micro-grid, offers a filter from which to see nature as external, and disconnected from the human biome. The paintings made inside the box explore the desire to
overlay the human mind onto nature. The pictures are interrupted by geometric shapes that
reference gravity and time and the negative space around things that control growth and entropy.



-Matthew Fischer

PAINT SCHOOL POEM

Black Pond, Matthew Fischer, 2018, oil on canvas, 59 x 66 inches 

SHANDAKEN PROJECT FELLOWSHIP STATEMENT  

MARCH 2018


On the ground he emerges 

Feeling the wind
The grass is connected
It moves in the wind

The sound is the spirit 

And mine in my head


The sun makes it warm 

In the spot in the grass

The feelings of nature

Made sensory as mass


The rest of the woods
Is still wet and quite chilly 

The darkness is there

But is not all that scary


God takes a place
And in church vows are made The theatrical place
Makes space safe and profound


Music it vibrates
In place of the word
He finds in chorales
That his soul does abound


But God’s hands are empty 

He comes to embrace
The human is mystery
The nature is place

The Earth’s a great miracle 

The mind is its seed


And wheat is the miracle 

The plant and the rock
If only we see
What’s right there In our spot


The plant is the life 

And offers some peace

It is like our mother 

And wet like the brain 

A succulent spot


The wind is the spirit 

That comes as a phase 

Life is a cycle
It’s all just a haze


Ourselves like the plant
We grow with the phases 

Alive like the spirit
The sound travels through us


We try to be separate 

The great interrupters 

But one in the same 

We will always remain.


-Matthew Fischer 

A FEW SCULPTURES FROM THIS CENTURY

Darth Vader, Maria Antelman, 2015, video loop on monitor

CURATORIAL PROJECT TEXT

480 BROOME STREET    APRIL 2015

New York, NY


EXHIBITION TEXT


600 years goes by so fast.

Out of the medieval niche and into the Renaissance garden there he was. Out in the open surrounded by air and light, no architecture to lean on or to stick to. A shocking one to oneness really shook things up. The thing was so...solo. He was vulnerable yet free- there's gotta be a trade off- prone to attack from all sides and prone to attack from all sides. The gaze was met and refashioned all who saw him.

-Matthew Fischer
RADIO PAINTINGS

U.N., Matthew Fischer, 2014, oil on linen, 17 x 13 inches

SOLO SHOW TEXT

JUNIOR PROJECTS  OCTOBER 2014

New York, NY


Streaming live, the wifi is working well, fully connected to an outside world while inside and alone. Plugging into the stream, hearing and seeing forms and images coalesce from fragments into wholes that pop out of the river just like the ferryman in Siddhartha said they do, if you just listen long enough you will see the daily stream gel its forms of anxiety, lobbing them out at us. All the fragments and foggy memories and unconscious clicking and swiping and liking come together bridging archaic desires and memories, building upon themselves into new castles with grand staircases leading into the future and the past. Foundations of meaning are stripped, decoded and rebuilt, leaving ghost residues of forgotten but known relevance and meaning. The River of Formation is the stream, all things going in, all things coming back out. Treaties and elbows, text and butt cheeks and fallen heroes bounce about and mix in the river, popping out at random into new coherence, at once springing from and filling up the data-rich subconscious. 


-Matthew Fischer   

CORNER APARTMENT

Corner Apartment, Matthew Fischer, 2014, oil on linen, found objects

SOLO SHOW TEXT

THE LIGHTHOUSE WORKS   JULY 2014

Fishers Island, NY


THE 12TH HUMAN DESIGN COMPETITION


(To be read in an old circus barker's voice with a hint of drawn out corporate formality)


"Ladies and Gentlemen of the New Unified Realm®, welcome to the 12th

Annual Real Human Design Competition®!!!!"


(Crowd Roars)


"This year we ask our contestants, all operating with the most up-to-date Old California Super Neutron® operating systems and Fibercorps Systems® bodily systems, to muster all their skill, nerve and talent to design and produce an exceptionally believable and fully functional new Real Human!!!"


(Crowd Roars)


"As in past years, contestants will be judged over five rounds in two categories. The first category is Life Functions and Bodily Presentation which includes seamless cell regeneration, fluid/solid intake and output, and the fulfillment of Classical outward appearances. The second category is the attainment of Real Human-level Cerebral Consciousness proven through naturalistic verbal and emotional engagement with the operator in call-and-response training. In a surprise twist from the directors at CORE®, this year for the first time.............extra points will be given to the contestant whose design simulates most authentically the Real Human SOUL as defined by the SOUL Simulation Index of the 2615 Convention on Real Human Re-creation!"


(Crowd goes wild)


"As part of the SOUL the judges will especially be looking for artistic sensibilities in the design, such as, but not limited to, a self-awareness of one's three dimensional form in space as a separate being, a recognition of beauty, the phantastic and the sublime, and the ability to employ the nuances of Real Human metaphor, symbolism and narrative to

communicate inner thoughts and emotions. The competition starts right here, right now in the Fibercorps Systems® Real Space Arena!!!!!!!"



-Matthew Fischer, 2015 

OTHER PEOPLE'S PAINTINGS

Bather (center) by Nikki Maloof, glove sculpture by Amanda Friedman, MacGregor Harp paintings on right and left.


CURATORIAL PROJECT TEXT

TORRANCE SHIPMAN GALLERY  MARCH 2014 

Brooklyn, NY


EXHIBITION TEXT  


In Phillip K. Dick’s 1969 novel The Galactic Pot-Healer, an alien blob-shaped god called Glimmung selects a large group of disenchanted pan-galactic technical experts and transports them to his planet in order to challenge his fate. He requires the experts’ help to raise a sunken cathedral from the bottom of the local ocean. He cannot do it alone. In order to help him, they must enter his blob-shaped body and join his mind. Upon entering Glimmung they experience anxiety, fear and panic. But after the task is finished, they realize the allure of the telepathic communion that the group-mind offered. To their surprise, they find that inside Glimmung they feel no loneliness. At this point Glimmung gives the experts free will to leave the blob/body/mind. Everyone decides to stay, except an alien gastropod historian and the only Earthling in the group, the pot-healer Joe Fernwright.


Empathy might be close to telepathy. Art makes me feel its communiqué, throwing itself into the blob between us. Socially telepathic overlays emerge from the waters over time. The artists in this show include my old friends, new friends and near strangers. Together their energy and clarity of vision make me feel like I am part of something, whatever that means.

-Matthew Fischer