Angela Fischer – Academy of Fine Arts Vienna, Textual Sculpture

born 1991 lives and works in Vienna

HTL Mödling, (Dept. for Furniture & Interior)

Welding course: MIG / MAG, electrode. Schweisstechnische Zentralanstalt, Vienna

Since October 2016, studies „Fine Art“ at the Academy of Fine Arts Vienna in the Department of Textual Sculpture at Univ. Prof. Mag. Heimo Zobernig

Angela Fischer – Textual Sculpture contemporary art


01/2017   Academy of Fine Arts Vienna, 1020 Wien, Kurzbauergasse 9

07/2016   Galerie Challery, 1010 Wien, Kärntner Ring 11-13

11/2015   Galerie Katharina Maria Raab, Berlin, Deutschland

11/2015   Vok Dams ATELIERHAUS, Wuppertal, Deutschland

09/2015   Galerie Challery, 1070 Wien, Gutenberggasse 1

06/2015   Galerie Challery, 1010 Wien, Schwertgasse 4

Angela Fischer Academy of Fine Arts Vienna – Textual Sculpture contemporary art, Academy of Fine Arts Vienna

In my artistic work, in the field of textual sculpture, I am concerned with the phenomena of the acceleration of social change. My discussion of materialities, surfaces and their profound structures (temporal, material, social, cultural, etc.) are characterized by a constant action with added value of the resulting tension, between the world, the self-image and the object. My biographical background, such as the lesions and trauma of an accident, and the felt loss of ten years of life, recovery and recovery, are relevant to this. This state of restricted freedom of movement, which was a dysfunctional sequence, I felt as a standstill, subjectively. This delay, however, implied a time of reflection and reflection of one’s own lifetime, which has since been a high priority for my actions. Questions were redefined on how to deal with future, remaining resources (temporal, intellectual, material …). On the basis of my works, I concretely dealt with these complex subject areas, which are deliberately expressed by means of manual production, free of technical aids and the choice of raw products used. Materials that are opposed to each other, such as the combination of wood with carbon, autolack, epoxy resin … create a complex stress ratio. In this metadiscourse, a dialectical contradiction between natural material and anthropogenic material is at the beginning. The closer examination of the respective components in my artistic synthesis opens up a new way of looking at their relationship and origin context from which petroleum can be derived. In a broader sense, so-called „organic substances“ may be referred to as a time-dependent depth structure. Rootwood, like petroleum, is subject to a certain extent of time, natural speed limits. Wood stands for areas that can be revamped or actively replaced, which are not accelerated, which may even have tendencies of deceleration, possibly acting as „brakes“. The shape of the rootwood can be attributed to a certain degree of staticity and solidity due to its rootedness in one place. It is thus a symbol of classical modernism, whose stability finds itself, for example, in the design of established life plans and goals. In contrast to this, carbon (carbon fibers) as a carrier substance of lightweight construction is like a future-oriented material, which stands for all systems which are oriented towards change and whose change and progress are still incomplete and which indicate instability as a feature of late modernity. From this conceptuality, the postmodern identity emerged, which, on account of its openness, does not shy away from newness. Flexibility and adaptability are the key to continuous updating. And thus also offer the possibility of a biographical permanent revision, constructing a mobile lifestyle to be „in time“ as a means for the purpose of autonomy and individualization. Paul Virilio (philosopher, founder of dromology): „Freedom of movement is the first freedom …“ Because the sculptures are partly made of wood and carbon, you might think that the immobility / slowdown and the Mobility / acceleration as equated and universal, temporal basic tendencies. In reality, this is negated by repeated application of Autolack, which indicates speed / acceleration / mobility. On the contrary, these lacquered outer layers show the tendency to „neutralize“ the inertia of the wood part, the dynamization attempt of the immobile and the stationary, the inner struggle of the individual after optimization in the fleeting modernity. The partial recognition of the rootwood surface shows the acceptance of the immobility only in the deceleration as a temporary slowdown to „refuel“ and „re-start“, as a strategy of speed, in the order of the acceleration of purposeful processes, which are perceived as desirable. This is used to read out the movement impulses and time discipline / management by conditioning given requirements in favor of the specifications of the abstract time. Because of the acceleration of modernity, the most diverse tempo ideologies have arisen. This dynamism-winning success has a cultural impact and is decisive for all fields of cultural production. In a wider sense, an end to work and life, as an option of life-style such as „networking“, „multitasking“, „non-stop“ and other phrases: „Time is Money“, „Invest in speed „… This is visible through the illusion of color dynamics, which also describes homogeneity. Progressively, there is a de-contextuation where places lose systematically in meaning, orientation, but time does not. Hartmut Rosa (sociologist, political scientist) describes this seemingly boundless contingency and openness of modern societies and their rapid and continuous change with appearances on the user interface, whose depth structures, the incompatibility of the fragmented self, unduly harden and lead to a structural and cultural solidification „crystallization“ to lead. This results in the consideration that the acceleration of social processes is socially compatible only if corresponding increases in tempo on the structural and cultural interfaces can be „translated“ without friction losses. This frictionlessness can be detected on the sculptures with correspondingly gloss-coated surfaces. In view of the global network, new accelerating discourses were continually being introduced which transport human, information and commodity flows … rapidly everywhere, but flow in other directions with the least territorial or political changes. The authors (Bauman, Castells) speak of „global flows“. This reaction is comparable to the properties of liquids, such as liquid epoxy resin, until it cures. This change in the aggregate state again illustrates an accelerated movement (the molecules). As the Baudelaire Essay (The Painter of Modern Life) reveals, the volatility of the modern moment conveys the longing for the eternal and imperishable and is updated in a new way. This basic idea manifests itself in the sculptural works due to the preservation of the wood (any other raw material) by preparation with epoxy resin. They thereby reach the state of „Zeitzeugen“ and present the expression of a „frozen time“. The forms and visible characteristics of the wood are also testimonies of its history and external influences, such as weathering, human treatment, etc., and can indicate the effects of an accident or the result of accidental processes. Nevertheless, such outsides still have undiminished weight and „strength of character“, and in this contradiction to idealistic, aesthetic paradigms, signal the ambiguity of their „well-being“. Through the deeper insight into the beauty of unconventional things and their depth and multidimensionality, the object receives the state of its appreciation at that moment. The initially imperfect, external imperfection of so-called wood defects is the basic basis, in order subsequently to reposition these marks by means of a metallic autolack, in order to create their own interpretation of aesthetics. Beauty is a dynamic event that takes place between itself and something else and can occur spontaneously, at any time, when the appropriate circumstances, the appropriate context or the appropriate point of view are given. Aesthetic perception is thus a changing state of consciousness, an individual moment, as is life and the biography, all of which are velocities, a constant changeover and a speed change.

Angela Fischer – Textual Sculpture, Academy of Fine Arts Vienna  contemporary art