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January 20, 2011
Roland Fischer photographs sections of buildings’ façades in such a way as to flatten their geometry and create two-dimensional abstract compositions that are simple and starkly beautiful. Closely cropped buildings allude to abstract colour field painting, and purposefully conceal the context and size of large buildings in order emphasize their unique decorative and geometric patterns.
Roland Fischer
Fischer bases his practice in some form of abstraction. What interests Fischer is the flat planar quality of the modern office building as a purely visual effect associated with the glass curtain wall, its imposing height and reflective surfaces.
Roland Fischer
In From Gothic to Modern: the Faces/Facades of Roland Fischer in vol 8 of PART, the Journal of the CUNY PhD program in Art History, Sarah Stanley says:
The planarity of the façade also refers to the flatness of the photographic image. In certain photos, Fischer goes further by cropping to the boundaries of the building’s façade so that only the vertical and horizontal lines of the windows and structure remains framed. The overall visual effect of this rectilinear treatment recalls the linear enclosures of Mondrian, an artist who was both inspired by and responsive to the architecture of the city.
She adds that Fischer’s photographs of the modern office building come close to releasing the photographic subject through the color and line of pure abstraction. He uses the digital imaging process to transform the photographic image into a starkly abstract image, in order to “correct’ the waviness that results from the steep viewing angles required to photograph tall buildings.
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