Urs Fischerquarteredukulele, 2011

Top: ultralight MDF, acrylic sealer, wallpaper primer, wallpaper adhesive, paper, silk-screened acrylic paints, acrylic polymer emulsion, acrylic polyurethane, and urethane; base: cold-rolled steel powder-coated with polyester TGIC (RAL 6034), polyester tape, cork composite, and hardware

34 ½ × 34 ½ × 24 ¾ in

About the artist

People seem to fear art. Art has always been a word for this thing that can’t be rationalized; when you see or hear something that you struggle to explain. But that’s its strength, of course, that’s what the word “art” is for. —Urs Fischer Urs Fischer mines the potential of materials—from clay, steel, and paint to bread, dirt, and produce—to create works that disorient and bewilder. Through scale distortions, illusion, and the juxtaposition of common objects, his sculptures, paintings, photographs, and large-scale installations explore themes of perception and representation while maintaining a witty irreverence and mordant humor. Born in 1973, Fischer began his artistic career studying photography at the Schule für Gestaltung in Zurich. He later lived in London and Los Angeles, and shared a studio with Rudolf Stingel in both Berlin and New York. Themes of absence and presence, as well as the processes of art production, pervade his work, in which Fischer makes use of tables, chairs, shadows, and light to explore distortion and anthropomorphism. In Stuhl mit (1995–2001), bulbous, fabric-covered legs merge with a wooden chair, and in Studies for chairs for individual seating positions (1993), the absence of a human body is suggested by a sawdust and rubber mold draped over the furniture.

Urs Fischerquarteredukulele, 2011

34 ½ × 34 ½ × 24 ¾ in

About the artist

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