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Matti Fischer is an Israeli visual artist currently studying four dimensionality in painting and sculpture. Past interests include the combination of patterning and representational painting and figurative large scale compositions. Educated at Bezalel academy of art, by Russian Israeli painter Aharon April, and at Tel Aviv University Department of Art History (PhD.). Taught Classical art history at Tel Aviv University Department of Art History and was the head of the Art Education department, Talpiot College of Education, Holon.
מתי פישר הוא אמן חזותי החי ועובד בישראל ועוסק כיום בציור ופיסול בעלי מימד של זמן. בעבר, חקר גם את שילוב הדגמיות בציור ועסק בציורים נרטיביים גדולי ממדים. נולד בירושלים בשנת 1957, למד במחלקה לאמנות ב"בצלאל", והתמחה בציור אצל הצייר אהרון אפריל. ב-2004 קיבל תואר ד"ר בתולדות האמנות מאוניברסיטת תל-אביב, המחלקה לתולדות האמנות ולימד שם אמנות קלאסית. כמו כן, שימש בתפקיד ראש המסלול לאמנות במכללה האקדמית תלפיות בחולון.
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Matti Fischer - Artistic Development
מתי פישר - התפתחות אמנותית
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In his early work, Matti Fischer focused on the narrative qualities of painted images and on the stories that they convey to the viewers. Through the course of his development, he became increasingly interested in utilizing the artistic language and the images themselves in order to produce a more nuanced poetic meaning. That interest drove him to reexamine artistic perceptions of perspective, composition, and the use of color, and to experiment with materiality and with motion. Accordingly, these developments evolved from using traditional painting on canvas to forming the canvas itself into a three dimensional rotating object, so that the observer can be a participant in the constitution of narrative meaning.
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בעבודות המוקדמות התמקד מתי פישר באיכויות הנרטיביות של דימויים מצוירים ובסיפורים שהם מעבירים לצופים. במהלך התפתחות אמנותו, יש התעניינות גוברת בשימוש בשפה האמנותית ובדימויים עצמם על מנת לייצר משמעות פואטית מעמיקה יותר. בעקבות כך יש בחינה של הנחות מקובלות של שימוש בפרספקטיבה, קומפוזיציה, וצבע, ולהתנסות בחומריות ובתנועה. מהלך התפתחות זה הוביל לעיצוב הבד כאוביקט תלת ממדי ולהנעתו בסיבוב על מנת ליצור נרטיב שהצופה שותף בכינון משמעותו.
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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 mythic biblical themes (1980's). Another interest, following a trip to Europe, was on large-scale narrative scenes such as political and social ceremonies that are communal in nature (1980's).
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 can be seen in the Myths and Realities series of paintings (1990's). In this series domestic and mythic scenes are explored using raw color pigments and diverse perspectives. The result elevates the activities in order to illuminate their mythical or mysterious nature. Dealing with the physical aspects of paint and canvas led to experimenting with the physical dimensions of the canvas as seen in the pattern and representation paintings, (2005-10) where the Islamic patterning is in relief and is combined with narrative scenes. 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 exhibition at the Misrad gallery showing helical revolving paintings (2010-15) 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. More recently the helical motif has evolved into sculptural work in copper as exemplified by the Brazen serpent shown at the Jerusalem Biennale 2024 and sculptures from 2025, which both deal with the feeling of separation from one's own society and disgust with its actions.
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 can be seen in the Myths and Realities series of paintings (1990's). In this series domestic and mythic scenes are explored using raw color pigments and diverse perspectives. The result elevates the activities in order to illuminate their mythical or mysterious nature. Dealing with the physical aspects of paint and canvas led to experimenting with the physical dimensions of the canvas as seen in the pattern and representation paintings, (2005-10) where the Islamic patterning is in relief and is combined with narrative scenes. 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 exhibition at the Misrad gallery showing helical revolving paintings (2010-15) 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. More recently the helical motif has evolved into sculptural work in copper as exemplified by the Brazen serpent shown at the Jerusalem Biennale 2024 and sculptures from 2025, which both deal with the feeling of separation from one's own society and disgust with its actions.