v. umj. sur. Fedor Fischer

He graduated in painting in 2007 from the Academy of Fine Arts, in the class of Professor Zlatko Keser. After completing his studies, he actively exhibited at solo and group exhibitions in Croatia and abroad. In his artistic work, he deals with the themes of time and space as mutually intertwined categories, with a special interest in questions of survival and memory. During his artistic development, he explores different artistic approaches and media. In the earlier period, he dealt with coloristic, abstract figuration in the traditional technique of oil on canvas, then realistic figuration, and over time he began to experiment with different materials and textures, which gradually led him to abstract and maternal painting. On several occasions, he collaborated with Ivana Fischer (Jurić) as a set designer on her short animated films produced by Kinorama, which were presented at numerous festivals. He also created a portrait of Vincek (Predrag Vušović) for the feature film Koko and the Ghosts. He began his teaching experience in 2019 at the Academy of Fine Arts, and in the same year he became a member of the Board of Directors of HDLU. In 2022, he entered into permanent employment as a senior artistic associate.

The center of my artistic interest is the research of the tension between chaos and control. Processes in which matter, time and physico-chemical changes play an equally important role as the author. Such an approach is based on setting initial conditions, allowing coincidence and subsequent recognition of the relationships that arise from it, whereby the work is not defined by the final form, but by the dynamics of the process. Every human work consists of controlled procedures and phenomena that develop beyond complete control. In my work, matter is not a passive carrier of the image, but an active participant whose behavior is monitored through cause-and-effect relationships and structures that arise without direct intention. Chance is not understood as the opposite of skill, but as a way of opening up areas inaccessible to strictly planned interventions. The concepts of change, accumulation, degradation and moving away from the initial state are the main carriers. Imperfections and irregularities are indicators of the process, not deviations that require correction. Combining different materials and their interaction with each other makes it possible to create structures that are not created by a single gesture, but through a series of successive stages. The work is formed on the border between the intentional and the unexpected, while the composition is established through constant analysis of the situation and adaptation of procedures. This way of working also shapes my pedagogical approach. In teaching, I emphasize the importance of observing, understanding the structure and making decisions based on the understanding of what is observed. I believe that the development of visual thinking and the ability to recognize relationships form the basis for further artistic progress.

In the courses Drawing and Introduction to Painting, Nude Drawing, Plastic Anatomy, students acquire skills and knowledge about drawing in the European tradition of drawing studies according to a live model, by observation. The basic task is to learn through drawing about creating a system for solving a given art problem that they can successfully apply to create works of art and prepare for the continuation of their studies.

Biennial of Painting (1st, 2nd, 3rd, 4th, 5th, 6th, 8th) 48th Zagreb Salon 30. Youth Salon Between Figuration and Abstraction, Civico Museo Revoltella, IT Collapse, Barrel, Meštrović Pavilion Kunstsalon Perchtoldsdorf, AT 11. Wiennafair, AT Gallery of Contemporary Art Celje, SI Aftermath, Josip Račić Gallery,