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Urs Fischer

Dasha

September 12–November 3, 2018
Davies Street, London

Installation view Artwork © Urs Fischer. Photo: Lucy Dawkins

Installation view

Artwork © Urs Fischer. Photo: Lucy Dawkins

Works Exhibited

Urs Fischer, Dasha, 2018 Paraffin wax, microcrystalline wax, pigment, stainless steel, and wicks, 66 ⅞ × 57 ¼ × 58 ½ inches (170 × 145.4 × 148.7 cm)© Urs Fischer. Photo: Stefan Altenburger

Urs Fischer, Dasha, 2018

Paraffin wax, microcrystalline wax, pigment, stainless steel, and wicks, 66 ⅞ × 57 ¼ × 58 ½ inches (170 × 145.4 × 148.7 cm)
© Urs Fischer. Photo: Stefan Altenburger

Urs Fischer, Dasha, 2018 (detail) Paraffin wax, microcrystalline wax, pigment, stainless steel, and wicks, 66 ⅞ × 57 ¼ × 58 ½ inches (170 × 145.4 × 148.7 cm)© Urs Fischer. Photo: Stefan Altenburger

Urs Fischer, Dasha, 2018 (detail)

Paraffin wax, microcrystalline wax, pigment, stainless steel, and wicks, 66 ⅞ × 57 ¼ × 58 ½ inches (170 × 145.4 × 148.7 cm)
© Urs Fischer. Photo: Stefan Altenburger

About

The world has always been ending. 
—Urs Fischer

Dasha (2018) is a larger-than-life-size wax candle depicting Dasha Zhukova, a personal friend of the artist. Cast entirely in wax, she wears a pink dress and is seated in a chair. A wick at the top of her head will be lit, and the candle will slowly melt over the course of the exhibition. Additional wicks strategically placed on the figure will be lit until the sculpture is reduced to a pile of wax drippings.

Fischer’s candle sculptures are captivating in their materiality and haunting in their implications; they serve as both portraits and meditations on time and gravity, life and death. As with traditional memento mori, viewers are reminded of the transience of life, beauty, and even art. Fischer began to make the candles in the early 2000s, with a series of crudely rendered female nudes, standing upright or lounging in groups. After a period of sustained research into mold making and casting, he began to make more realistic figurative candles that could burn for several months at a time, such as Untitled (2011), which included a full-size replica of Giambologna’s sixteenth-century sculpture The Rape of the Sabine Women, and Marsupiale (Fabrizio) (2017), a hybrid of the Florentine antique dealer Fabrizio Moretti and an oversize bust of St. Leonard. The figure of Moretti was cast in red wax, and wicks placed in order that it would melt into the white bust, which remained intact and unburned, leaving a bloody wound across the patron saint of prisoners.

Press

Bolton & Quinn
+44 20 7221 5000

Erica Bolton
erica@boltonquinn.com

Dennis Chang
dennis@boltonquinn.com

Gagosian
+44 20 7495 1500
presslondon@gagosian.com

From the Quarterly