Dismantling the stability of objects through excess, distortion and engineered collapse. His work rejects the consolations of form; instead, it cultivates degradation, malfunction and grotesque inflation as productive states. The installations—whether robotic prosthetics, bloated figures or theatrical voids—expose the violence embedded in contemporary visual culture, where desire and ruin coexist as a single aesthetic economy. Fischer’s humour is not entertainment but abrasion: a corrosive tool that scrapes away symbolic authority and exposes the absurd mechanics of value. While affinities with the Chapmans, Rhoades or Oldenburg might be traceable, his project is ultimately more ruthless. It stages a world where objects fail, bodies glitch and narratives disintegrate. This is not renewed pop but a post-pop necropsy: a forensic examination of culture’s debris, performed with seductive brightness and structural pessimism.
