You have to feel the material to create powerful works, to bring forth a thought, an emotion and share a look at the world.
How can an inert object, in the long run, bring out unsuspected, unspeakable and uncontrollable emotions from the depths of oneself? Wayne Fischer is an artist for this, to create a work that surprises, questions and moves. If he does not know why his works generate sensations in the one who looks at them, if he can not explain the reasons behind his plastic research, he knows the workings of the artistic practice he invented and its limits.
No break has come to disturb the approach he has imposed upon the university and the meaning of his work: translate the living. For, although Wayne Fischer has received several international awards and quickly obtained recognition of his expertise among ceramic professionals, he remains isolated, both unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and can generate some discomfort. They are beautiful, carnal, "caressable" while being out of our canons of beauty. The ambiguity between attraction and rejection is at the heart of this evolution.
Wayne is above all an artist. From the moment he gets up, whatever he does and wherever he is, Wayne is an artist, sometimes even disconnected from reality. No concession is possible, either in his approach or in the time he devotes to his work. He did not seek a food job, he did not turn away from his path whatever the suffering, the sacrifices and the tensions generated by an uncompromising attitude. His perseverance and stubbornness have kept his sculptures to a very high standard.
Except contemporary trends, ceramics or artistic, without belonging to any movement, without referring to the history of sculpture of the twentieth century, which has highlighted other materials and other techniques, Wayne Fischer innovates. His style is his own. He talks about the body without being figurative and is not really abstract because the works are erotic. While maintaining a simplicity of form - influenced in his studies by the work of Barbara Hepworth - Wayne Fischer addresses the unconscious and seeks to create this disorder that he himself felt with respect to works of Bacon, Goya or Magdalena Abakanowicz. He demonstrates, like Bernard Dejonghe, that the artist is not opposed to the artisan, that ceramics can give birth to works of art and "give birth to a thought, an emotion and share a look at the world. ".
Works by this designer
Wayne Fischer developed his technique at the end of the 70s and remained faithful to it. He adds fibers to a porcelain paste chosen for its whiteness, in order to accentuate its hold, and shapes the volumes around the void in the manner of ceramists, by assembling turned pieces or plates. Then he turns an element, the hollow that will take place inside.
Each part is deformed without a mark of the hand, before or after assembly. So are born sculptures or objects called double walls. The dyes are blown with an airbrush and then covered with a transparent enamel sprayed in a thin layer. The whole is colored like a painter, controlling the light. The darker parts accentuate the shadow and depth, the lighter ones highlight and highlight.
Wayne Fischer has been published in the trade press.
Discover them below.