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Infinite Challenge IAN FISHER

By Paola Paleari


For centuries, the sky is the largest scientific research field and, at the same time, existential.


The sky, before forming up to artistic exploration is recurrent and essential element of human history. At the same time as he became aware of himself, man has divided the world into two parallel physical and mental spaces: the globe and the celestial sphere. In the first he poured his energies, he cultivated and shaped to fit their skills; in the second projected hopes and fears, Central Italy, in the territory of the unknown and supernatural forces. For centuries, the sky is the largest scientific research field and, at the same time, existential: the astronomers, astrologers study I read the future, contemplate him dreamers, artists paint.


Ian Fisher, Canadian-born 30-year-old painter, belongs to the latter category: his works are focused exclusively on the representation of blue – and all the shades of colors that the clouds are changing in their lives.


"Why I chose to focus on the sky? Because it is so beautiful! "responds candidly Ian to my first and perhaps obvious question. "The clouds are mysterious elements in constant change. Continually alter their essence and, nevertheless, remain themselves. Heaven is the realm of chaos, but obeys a very precise rules. It is not glamorous? "


FISHER_01Atmosphere No. 50 – Follow You Into the Dark (2014) | 72 × 96 inches, oil on canvas.



How to disagree? After the impressive value of observation of nature's analysis, however, remains the difficulty of dealing with a central component of modern art: starting from the Renaissance, all the greatest masters have provided his own personal vision of the atmosphere and some, like the Englishman William Turner in the early 1800s, have placed at the center of their research, from central to truly meaningful ingredient. Ian understands the size and stratification of the surviving legacy to him, particularly because of the role that is played ("If you paint, you're a painter before being an artist"), but it points out that the question concerns more generally every theme and every kind of artistic discipline.


"Many think that, nowadays, it is impossible to create something new with the painting. In fact, it is an art form that still leaves great room for experimentation. In my case, for example, the abstraction and the hyperrealism coexist within the same work, making it difficult to divert it into a subcategory is defined and recognizable ". These large oils on canvas are in fact subtly ambiguous than it appears at first glance: photographic array, depart from reality to overcome it, bypassing the pretense of objectivity of metaphysics without going through the use of allegories. The decision to focus solely on cloud consistency, says Fisher is a challenge to the principles of perception, according to which the eye follows a grid to represent three-dimensional objects and spatial relationships within a two-dimensional plane. Delete every reference to the Earth's element is equivalent to denying this Grill so the viewpoint is moved beyond mere representation of optical phenomena, although these remain in effect the main subject of the work.


FISHER_02Atmosphere No. 47 – The Four Horsemen (2013) | 72 × 72 inches, oil on canvas.


"My job is to draw what I see, not what I know" – my job is to paint what I see, not what I know, said the aforementioned Turner in an era in which marked the passage from the landscape Impressionist interpretation tradition. Fisher knows that what we have before our eyes – in this case above our heads – is now accessible and known to all, both in its natural phenomenon of historical vision mediated by subject. His challenge is to accept this teaching, attualizzandolo for liking a world that has already made the halfway point in terms of artistic ideologies.



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