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Your Junk, My Funk, Oil on Panel, 4' x 4' - A piece exploring sample-based music. I painted on top of record album covers as a parallel to the sonic use of the songs themselves.
Sacred Territory, Oil on Panel, 4' x 4' - A piece exploring sample-based music. I painted on top of record album covers as a parallel to the sonic use of the songs themselves.
Oil Painting on Record Album Covers - A piece exploring sample-based music. I painted on top of record album covers as a parallel to the sonic use of the songs themselves.
Can You Hear It?, Oil on Panel, 4' x 4' - My progression from painting on record album covers to visually represent sample-based music, into a piece entirely in oil.
Over & Over, Oil on Panel, 2' x 2' - This is a painting from a series exploring people through lens of the music they listen to and what that music sounds like. This was an old roommate who DJs House music and likened this genre to pulsating warmth.
From the Ether, Oil on Panel, 2 x 2' - This is a painting from a series exploring people through lens of the music they listen to and what that music sounds like. This woman listened to Enya, which I interpreted as vague, watery, and somewhat formless.
I Cut Myself, Oil on Panel, 2' x 2' - This is a painting from a series exploring people through lens of the music they listen to and what that music sounds like. For this particular piece, I actually painted myself. I listen to a lot of sample-based music and I DJ, so I wanted to incorporate the chopping of records and live manipulation commonly referred to as 'scratching.'
Drum Pattern, Oil on Panel, 2' x 2' - This is a piece I did exploring the construction of electronic beats and sample-based music. I made a form of clay, that served as the drums, a solid structure, and had the 'melodic' elements swimming around this form. The yellow bits of distortion are a reference to the inherent degradation of media sources, i.e. vinyl records.
Vox Modulation, Oil on Panel, 2' x 2' - This is a painting I made exploring representation of sonic effects such as distortion and other means of 'coloring' and/or manipulating sound.
Segue, Oil on Panel, 4' x 11' - A painting exploring visualizations of sound produced from samplers/drum machines. The pixelated color schemes and blocks are a translation of lower bit-rate samples. Pixelation is the closest visual approximation of lower quality audio.
Sex Cells, Oil on panel, 4' x 6' - This piece was exploring themes of sex in the digital age, using the artist Aphex Twin's song 'Window Licker' as a starting point. I was aiming to visualize the heavily altered vocal samples he used, which brought to mind copulating tubes of glass. The song is very sexual, and very digital (which is typically 'cold'), yet I wanted these things to exist within the realm of paint. I modeled the source image in Maya and then altered it in Photoshop.
Restraint, Oil on Panel, 3' x 4' - This is a piece exploring the theme of restraint, or rather, the point of tension before things break/explode. 3' x 4'
Paintings
Chad J Fischer
Illustrator / Graphic Designer / Artist Setagaya-ku, Japan