BiographyMatti Fischer is an Artist working in Israel. Born in Jerusalem 1957 and educated in fine arts at the "Bezalel" academy of art in Jerusalem and by the Russian-Israeli artist Aharon April. in 2004 obtained a PhD. in Art History from Tel Aviv University department of Art History. Currently teaching at Tel-Aviv University department of Art History, and is head of the Art Education department at Talpiot College of Education, Holon. To see publications in art history please go to the art-history page.
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Artistic Development
My Art education and first interests were in narrative figurative painting. This focused for me on reinterpreting my traditional Jewish background by depicting biblical themes. Another interest, following a trip to Europe, was on large-scale narrative scenes such as political and social ceremonies that are communal in nature.
The next phase was a growing interest in the material and physical aspects of painting. I began by exploring the use of pigments and the dynamic aspect of color and curvilinear perspective. This led to experimenting with the physical dimensions of the canvas as seen in the east-west patterned paintings, where the islamic patterning is in relief. As I build the painting, the morphological concerns are always connected to thematic and poetic ones. Patterning as seen in the east-west paintings is derived from living in the Middle East, where tensions between east and west become acute. The paintings echo this tension with an attempt to formulate an illusionistic representation embedded in the concrete anti-illusionistic pattern.
As I was employing different means to achieve a more complex dimensionality of the canvas I began seeking ways to turn the flat canvas into a three dimensional one. The curved shape of a fallen leaf in the autumn intrigued and made me wish I had a canvas shaped that way. In searching to accomplish this I discovered the vast field of origami techniques. This combined with my interest in patterning produced my folded paintings. The representational aspect of these paintings refers mostly to life in the city. Actual depth is achieved by the folded canvas manipulated to deviate from origami's traditional precision. The inner curved and maze-like space that is produced by the combination of the painted scene and the actual depth of the canvas serves as a metaphor for the attempt to penetrate or decipher "city life", or more generally - the "depth" dimension of existence.
My current work combines a return to figurative work while re-exploring the narrative form in visual art. I attempt to apply a narrative that is neither the traditional story on a flat canvas, nor the modern cinematic or snapshot narrativity. With a continued interest in three dimensionality in painting this led to the helical revolving paintings. Physically, these paintings are folded to form a helical shape, and are presented hanging and revolving, while the painted figures enable the construction of a narrative. The fourth dimension of time is now added and is fused with space so that the viewer is free to reconstruct space, time and narrative in a variety of ways as the helix revolves. Thematically and chromatically, these paintings have a somber mood, reflecting the burden of a history (a moving narrative - personal or collective), but also serving as a soothing prayer as in Buddhist prayer wheels.
The next phase was a growing interest in the material and physical aspects of painting. I began by exploring the use of pigments and the dynamic aspect of color and curvilinear perspective. This led to experimenting with the physical dimensions of the canvas as seen in the east-west patterned paintings, where the islamic patterning is in relief. As I build the painting, the morphological concerns are always connected to thematic and poetic ones. Patterning as seen in the east-west paintings is derived from living in the Middle East, where tensions between east and west become acute. The paintings echo this tension with an attempt to formulate an illusionistic representation embedded in the concrete anti-illusionistic pattern.
As I was employing different means to achieve a more complex dimensionality of the canvas I began seeking ways to turn the flat canvas into a three dimensional one. The curved shape of a fallen leaf in the autumn intrigued and made me wish I had a canvas shaped that way. In searching to accomplish this I discovered the vast field of origami techniques. This combined with my interest in patterning produced my folded paintings. The representational aspect of these paintings refers mostly to life in the city. Actual depth is achieved by the folded canvas manipulated to deviate from origami's traditional precision. The inner curved and maze-like space that is produced by the combination of the painted scene and the actual depth of the canvas serves as a metaphor for the attempt to penetrate or decipher "city life", or more generally - the "depth" dimension of existence.
My current work combines a return to figurative work while re-exploring the narrative form in visual art. I attempt to apply a narrative that is neither the traditional story on a flat canvas, nor the modern cinematic or snapshot narrativity. With a continued interest in three dimensionality in painting this led to the helical revolving paintings. Physically, these paintings are folded to form a helical shape, and are presented hanging and revolving, while the painted figures enable the construction of a narrative. The fourth dimension of time is now added and is fused with space so that the viewer is free to reconstruct space, time and narrative in a variety of ways as the helix revolves. Thematically and chromatically, these paintings have a somber mood, reflecting the burden of a history (a moving narrative - personal or collective), but also serving as a soothing prayer as in Buddhist prayer wheels.
Exhibitions
1984: Debel Gallery, Jerusalem, "Still Life"
1986: Jerusalem Artists House, Group show, "New Members in Jerusalem Artist's Association"
1986: Jerusalem Artists House, "Political Ceremonies"
1989: Tel Aviv Bible Museum, Group show, "Israeli Artists Paint the Bible"
1989: Los Angeles, Stephen Wise Tempel, Group show, "Israeli Art"
1997: Tel Aviv, Talpiot College, Hagaleria Ha'acheret, Group show, " Talpiot College Artists"
2007: Tel Aviv, Talpiot College, Hagaleria Ha'acheret, Group show, " Talpiot College Artists"
2010: Holon, Talpiot College, Hagaleria Ha'acheret, "Foldings"
2015: Tel Aviv, The Office Gallery, "Die Luft ist kühl".
1984: Debel Gallery, Jerusalem, "Still Life"
1986: Jerusalem Artists House, Group show, "New Members in Jerusalem Artist's Association"
1986: Jerusalem Artists House, "Political Ceremonies"
1989: Tel Aviv Bible Museum, Group show, "Israeli Artists Paint the Bible"
1989: Los Angeles, Stephen Wise Tempel, Group show, "Israeli Art"
1997: Tel Aviv, Talpiot College, Hagaleria Ha'acheret, Group show, " Talpiot College Artists"
2007: Tel Aviv, Talpiot College, Hagaleria Ha'acheret, Group show, " Talpiot College Artists"
2010: Holon, Talpiot College, Hagaleria Ha'acheret, "Foldings"
2015: Tel Aviv, The Office Gallery, "Die Luft ist kühl".