1950
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Daniel Fisher’s work occupies a unique place on the art scene thanks to his uncompromising interest in the presentation of a meaningful and authentic dialogue with the cognizable world and beyond. He focuses on the issues of consciousness and the need for its qualitative transformation on different levels.
Various transformations and levels of painting have been a part of his artistic program since he was a student. In his words, altruistic, aesthetical-ethical and trustful contact with the world and not just with a kind of concept of it represents the basis of his orientation. Art and its ability to uncover, clarify, and transcend these phenomena are another important part of this.
In the 1970s he was one of the first artists in the country to create computer graphic prints. He maintains a tension between the given and the accidental, the artificial and the natural, and the visual and the textual in an innovative manner. In the mid-1980s he developed his most extensive cycle entitled Maľby v krajine (Landscape Paintings) which he created outdoors. He subsequently objectivizes and documents his concentrated interest in nature as a source of inspiration and harmony in the form of photography at the moment when a painting “becomes part of the space which is beyond us”. The format itself plays the psychological role of a gate or portal, where Fisher presents the experience of intersecting and merging two entities into one. He also uncovers the metaphysical polarity of recognition and secret, concealment and uncovering, being and Existence.
His multimedia work with overlaps from painting, object, photography to multimedia installations has an outstanding timelessness and topicality. It concerns basic metaphysical questions as well as the traumas of our 20th and 21st century society. Mobile, light, spatial and illusive installations attract spectators by their visuality up to the moment when they look anew at disturbingly repeating history face-to-face.
The complexity, processuality, conceptual thoughtfulness, and technical virtuosity of Fischer’s works are evidence of the fact that contemporary visual art can still surprise us by its new positions and along with its aesthetic position keep a meaningful dialogue with its surroundings.
Since the 1970s, Daniel Fischer has been a distinctive figure whose artistic and pedagogical activities can impact the development of domestic visual culture. During the socialist era, he worked at an art school in Bratislava. In 1990 he became an associate professor of painting at the Academy of Fine Arts and Design, where he is co-author of the new concept and head of the studio of painting. In addition to many exhibitions at home and abroad, he presented his work at the Czecho-Slovak Pavilion at the XLV Biennale Venezia in 1993.
