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Honor Fraser is pleased to announce exhibitions of new work by Tillman Kaiser and Rob Fischer, opening Saturday April 2, 6 to 8pm.
Tillman Kaiser presents new work in 3 different genres; sculpture, painting, and an editioned wallpaper work. The wallpaper creates context and sets the stage for Kaiser's subjects, the paintings and sculptures in the exhibition. Kaiser has enlarged a found photo of a church organ, abstracting the appropriated image. He then reiterates the abstracted shapes in the sculpture and paintings, marking Für Kinder und Kenner's narrative with a steady rhythm of formal repetition and variation. The underpinning is his sculpture, and like Kaiser's early sculptural works, it evolves from an existing building, but pushes fearlessly away from representation. Although rooted in post-modern architecture and minimalist form, Kaiser's sculptures emanate an aura of the future. Employing a subtracted pallet of only black and white he creates hard, protruding edges and angular lines with less durable material such as cardboard, which in turn emphasizes his interest in form over function. With his use of egg tempera, and pencil on canvas the paintings Kaiser presents could be the crystallized exhalations of the sculpture; hard-edged forms appear soft, delicate yet deliberately defined in silkscreen.
Rob Fischer presents three sculptures that further develop and explore themes seen throughout his work. The artist recently participated in the Hammer Projects series, installing a major sculptural work on the museum's lobby wall. For years Fischer has reclaimed wooden floorboards from school gymnasiums throughout the Midwest. In his project at the Hammer he created a mural-like wall sculpture that existed as a labyrinth of roadways and paths of intersecting floorboards that refer back to the notion of the American road trip and an almost haphazard journey through nostalgia. Here Fischer presents a work from this series, a wall sculpture that serves as a fragment of the larger floorboard installations. In this work it is as if the artist has taken a snap shot of a metaphorical roadmap as the work snakes down the wall into a corner and onto the floor, ending mid-path. Further fragmenting familiar objects Fischer presents two sculptures referencing a normative form, the boat. With one work Fischer approaches the sculpture literally, fragmenting and reassembling a once functioning boat that he has reworked multiple times over the years. Here the artist quarters the boat, casts one portion of the work and reassembles adding painted panes of glass around the perimeter that create an enclosure that allow the viewer a glimpse of the interior. Fischer's second boat sculpture is further abstracted and sits vertically composed of a semi-transparent skin made of colored panes of glass and mirror.
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