People have unsuccessfully tried to classify, catalogue and label Roland Fischer's architecture work.
It never fully meets what people expect from it, always escaping, running away or avoiding any limitation that has been forced on it, just as the perspectives with exaggerated leaks that dominate some of his images. The method and surface have mainly been what people have used to set limits on what they are seeing. That been said, all works on display are photographs a medium rather than a method or surface. However, many of the methods implemented by Fischer correspond to a very different technique also a medium but not a surface: painting. Nevertheless, the artist's images probably belong to neither of the two. They are neither photographs nor paintings, they are unclear and cannot be subject to restrictions, because if they do, too much get lost. Restrictions exclude, that is, they are exclusive as opposed to Fischer's images, which include everything because they don't surpass the limits, they are transitional, they are "in between".
They are nothing and everything at once. They don't abandon the reference we have decided to call "real" and that influences the photographic medium when it tells us "this is", or even better, "that was", even if what it is or was is only apparent, a mere pose. They neither forget what they classified as pictorial tradition, a state-of-the art tradition: at times they are windows, the windows to which Leon Battista Alberte referred when writing about perspective or the widows that fascinated Cubist artists when they attempted to apply all dimensions to their paintings (even time), while at others they become the surface, an abstraction surface where many layers pile up, so many different layers that information gets lost, or a surface that has been created using fields of colour, like some critics believed that paintings should be made, without a theme and, therefore, outside literature, a painting where figures can be mistaken for the actual background. Therefore, Fischer's images are both things, but they are also sculpture and architecture, as they become an object that projects out of the wall and creates spaces, modifying our perception of the environment they are displayed in and the building they represent. They are both the facade and the wall, glass and brick, interior and exterior.
His images have become the skin, like the skin that shapes the bodies that now comprise the artist's new series Figurations and that were missing in his architecture works. Weightless bodies that flow. There is no gravity in those digitally constructed buildings that seem to be about to fall down and collapse on each other. Shadows don't abide the rules either, since it is not possible to know from where the light comes. Light and shadow are featured on the image, they are manipulated to create new places without matter, or they force us to redefine what is seen as matter. There are no rules, no laws. Bodies are no longer bodies, they may have turned into ghosts with no muscles and no organs, just skin. They are floating just like the individuals featured on the pool portraits, where the deep blue or black colour of the water resembles the sky and where their identities seem to vanish, as they also do in the artist's group portraits. They are and are not, they are there and are not, like in all other series. They are unclear images, full of paradox, on the edge, 0borderline images.