Brass Gallery is proud to present 'Taxonomy', a new work by Samuel Fisher. Architectural artefacts as principal manifestations of the politico-economic conditions we live within are Samuel's primary source of exploration.
Inspired by the sacred geometries of Islamic art, his work addresses both the beauty of the infinite and simultaneously our almost dystrophic urban reality.
Having studied architecture his work continues to reference this craft, which has unfortunately been largely commodified for the purposes of investment instruments such as pension funds. This current financial system consequently reduces buildings into spaces appealing to the lowest common denominator- homogenous spaces of consumption, production or transit.
Samuel's work is influenced by the method of abstraction to describe the interaction between the profane and sacred realms, and to convey the beauty of the divine. The Muslim artist does not attempt to replicate the natural or man-made world and the sacred as it is, but attempts to convey what it represents.
Although influenced by such an approach, Samuel attempts to suggest that perhaps there is no such division between the sacred and profane, the eternal and temporal.
The work produces an aniconic quality to representing the built environment by taking the architectural artefacts and representing them in a kaleidoscopic fashion, thereby alluding to an infinite nature that was otherwise not present.
This work, whilst implying a sacred quality, also suggests something sinister about the contemporary built environment. The infinite geometric reproduction that is suggested also refers to the dangers of what may become if the present forces that influence our cities remain unchecked.