Urs Fischer, ‘Stonewaller; Cakesniffer; Pet Parade; Goodnight; Spaghetti Cat; and Pigmaid’, 2015, Phillips

All images: various sizes
All sheets: various sizes
Largest sheet: 51 x 40 in. (129.5 x 101.6 cm)
All unframed

Signature: All signed and numbered 1/20, 3/20, 3/20, 4/20, 5/20 and 3/20 respectively in pencil (there were also 5 artist's proofs for all)

Publisher: the artist

About Urs Fischer

When featuring him in their 2006 Biennial, the Whitney Museum described Urs Fischer’s practice as “founded on a consideration of the nature of substances, the act of making, and the unpredictable processes that can result from combining the two.” Working in collage, drawing, sculpture, and most notably installation, Fischer transforms a host of materials to create his forms, from wood, clay, and glass to found objects, food, and wax. “Everybody likes objects; everybody likes different objects,” he has said. “It comes down to what objects you want to put in your art.” Fischer deliberately references art historical traditions like still lifes, portraits, and landscapes, but questions—and sometimes destroys—their authority through the use of impermanent materials. Some of his best known works include Untitled (Bread House) (2004), a Swiss chalet reconstructed in bread, and the hand-sculpted wax female nudes he melted as part of his “Kir Royal” exhibition.

Swiss, b. 1973, Zurich, Switzerland, based in Zurich and Los Angeles