.. Je est un autre"

In France since 1986, the American artist Wayne Fischer uses the plasticity of porcelain to create profound work which, ranging from containers to sculpture, is an organic ode to the real.

PR O F I L from the magazin : Ateliers d´art  July 2003

 You have to touch Wayne Fischer's pieces. Feel the softness of their skin, slide your fingers over their curves, stroke the slight swelling of the veins and folds, before plunging your hand into the hole, without really knowing what's waiting there, lurking in its depths; bottomless space, an unknown being or just the relief of a smooth, silky mold? The sculptures of Wayne Fischer go beyond words. They are an experience to be lived.Their forms undulate in space, animated by their own energy, pieces without any beginning or end of an expanding material that appears liable to retract suddenly and be swallowed up by the void, that black hole which they each have inside them and which silently contemplates the spectator. Like any work that speaks via gut feelings rather than going via the head, Fischer's triggers strong feelings among audiences, who either accept it or reject it, instinctively. Its strength lies in its ability to place us face to face with ourselves. For that, there is no need for speeches, drama or cannons... Simply rounded contours and the luminous, satin-like texture of one of the most fragile materials possible, porcelain, covered with pale colors ranging from pink to bluish! And there we are, bodies confronted with the powerful mystery of birth, sprung sexually from the ocean depths, trembling flesh faced with the immensity of space, naked and unknown, driven by centrifugal and centripetal forces, curiously made up of an inside and outside and trying to give the impression of mastering all these elements... Fischer is fascinated by physics and astronomy which he studied for a long time in the United States, alongside ceramics. His workshop is full of fossils. "I like the way the world moves and I'm fascinated by the start of life." Twenty years ago, his shapes were more literal, I resembling seeds. With time, his work has become freer and they are now more abstract and spontaneous. The art which moves. . .

... him is work that, while remaining contemporary, speaks of humanity in a timeless way. He cites de Kooning and Bacon for their energy, Henry Moore and Barbara Hepworth for their shapes and Magdalena Abakanowicz or Carmen Dionyse for their sense of the sacred. He has also been influenced by 25,OOO-year-old fertility statuettes like the Venus of Lespugue. As his interest in science would suggest, he has read a lot of Science Fiction. Fear of the  unknown is a natural emotion. But the unknown represented by others is first and foremost in oneself and is not necessarily threatening, What is, however, is the worrying gap between the external scientific progress achieved by humans in scientific terms and their inner immaturity. "One of the reasons why I make sculptures is to touch people inside, to tell them that they don't need to be afraid and remind them of the unbelievable beauty and variety of the universe." It's an awareness that we sorely need at the moment, rather than ultra sophisticated weapons. .