In June Fischer’s first solo show ‘Where Pikachu meets Seabunny’ she presents a new body of ceramic and resin sculptures that continue her ongoing exploration of the marine biosphere and its inhabitants. The exhibition centers around nudibranchs, soft-bodied animals, sometimes more commonly known as sea slugs. Ranging in size from 4mm to 60cm they are difficult creatures for divers to spot and is believed that only around half of the existing species have been identified so far. In 2018, during a student exchange in Japan, when the Twittersphere was abuzz with sea slugs particularly two species called Jorunna Funebris and Thecacera Pacifica – the former resembling a fluffy Seabunny and latter a Pokémon character Pikachu – Fischer became interested in exploring these creatures further.

Fischer’s most recent body of works, created for this exhibition, entails a return to a childhood memory of wanting to be a marine biologist. She replicates and reinterprets these tiny and sublimely colorful creatures, as well as their environments, recontextualizing them in the space of the exhibition. The exhibition’s center is the ‘Mother-Piece’ a silkscreen printed ceramic sculpture that merges the eight reliefs or eight nudibranchs respectively. For each relief a chosen nudibranch was dismantled in its features and reassembled in the form of a relief, transforming it from 3D into 2D. Printed using silkscreen, it seems as if the nudibranchs were living inside of the glazed ceramic bodies, which resemble the water essential to their survival. Nudibranch eggs are placed across the room like rosette ribbons, sheeting in protective mucus. The resin pieces evoke the plastic bags containing fish sold at water markets, not only addressing the cruelty of this practice but creating a habitat for the nudibranchs in the gallery space.

The exhibition is characterized by a sense of absurdity and alienation familiar to Fischer’s practice, which creates sites where stable distinctions between reality and fiction are blurred. Yet pressing concerns around animal exploitation in capitalism shimmer just below the surface. For all its playfulness Fischer’s work raising important questions about the marine biodiversity, its beauty and the political urgency behind its protection.

Text by Zakiya-Jordan SIngleton

Where Pikachu Meets Seabunny

Plasticus

In June Fischer’s first solo show ‘Where Pikachu meets Seabunny’ she presents a new body of ceramic and resin sculptures that continue her ongoing exploration of the marine biosphere and its inhabitants. The exhibition centers around nudibranchs, soft-bodied animals, sometimes more commonly known as sea slugs. Ranging in size from 4mm to 60cm they are difficult creatures for divers to spot and is believed that only around half of the existing species have been identified so far. In 2018, during a student exchange in Japan, when the Twittersphere was abuzz with sea slugs particularly two species called Jorunna Funebris and Thecacera Pacifica – the former resembling a fluffy Seabunny and latter a Pokémon character Pikachu – Fischer became interested in exploring these creatures further.

Fischer’s most recent body of works, created for this exhibition, entails a return to a childhood memory of wanting to be a marine biologist. She replicates and reinterprets these tiny and sublimely colorful creatures, as well as their environments, recontextualizing them in the space of the exhibition. 
The exhibition’s center is the ‘Mother-Piece’ a silkscreen printed ceramic sculpture that merges the eight reliefs or eight nudibranchs respectively. For each relief a chosen nudibranch was dismantled in its features and reassembled in the form of a relief, transforming it from 3D into 2D. Printed using silkscreen, it seems as if the nudibranchs were living inside of the glazed ceramic bodies, which resemble the water essential to their survival. Nudibranch eggs are placed across the room like rosette ribbons, sheeting in protective mucus. The resin pieces evoke the plastic bags containing fish sold at water markets, not only addressing the cruelty of this practice but creating a habitat for the nudibranchs in the gallery space.

The exhibition is characterized by a sense of absurdity and alienation familiar to Fischer’s practice, which creates sites where stable distinctions between reality and fiction are blurred. Yet pressing concerns around animal exploitation in capitalism shimmer just below the surface. For all its playfulness Fischer’s work raising important questions about the marine biodiversity, its beauty and the political urgency behind its protection.

Text by Zakiya-Jordan SIngleton

Reticulidia Halgerda

In June Fischer’s first solo show ‘Where Pikachu meets Seabunny’ she presents a new body of ceramic and resin sculptures that continue her ongoing exploration of the marine biosphere and its inhabitants. The exhibition centers around nudibranchs, soft-bodied animals, sometimes more commonly known as sea slugs. Ranging in size from 4mm to 60cm they are difficult creatures for divers to spot and is believed that only around half of the existing species have been identified so far. In 2018, during a student exchange in Japan, when the Twittersphere was abuzz with sea slugs particularly two species called Jorunna Funebris and Thecacera Pacifica – the former resembling a fluffy Seabunny and latter a Pokémon character Pikachu – Fischer became interested in exploring these creatures further.
Fischer’s most recent body of works, created for this exhibition, entails a return to a childhood memory of wanting to be a marine biologist. She replicates and reinterprets these tiny and sublimely colorful creatures, as well as their environments, recontextualizing them in the space of the exhibition. The exhibition’s center is the ‘Mother-Piece’ a silkscreen printed ceramic sculpture that merges the eight reliefs or eight nudibranchs respectively. For each relief a chosen nudibranch was dismantled in its features and reassembled in the form of a relief, transforming it from 3D into 2D. Printed using silkscreen, it seems as if the nudibranchs were living inside of the glazed ceramic bodies, which resemble the water essential to their survival. Nudibranch eggs are placed across the room like rosette ribbons, sheeting in protective mucus. The resin pieces evoke the plastic bags containing fish sold at water markets, not only addressing the cruelty of this practice but creating a habitat for the nudibranchs in the gallery space.
The exhibition is characterized by a sense of absurdity and alienation familiar to Fischer’s practice, which creates sites where stable distinctions between reality and fiction are blurred. Yet pressing concerns around animal exploitation in capitalism shimmer just below the surface. For all its playfulness Fischer’s work raising important questions about the marine biodiversity, its beauty and the political urgency behind its protection.
Text by Zakiya-Jordan SIngleton

Phyllidia Varicosa

Gymnodoris Impudica

Ardeadoris Cruenta

The work Flausen Fusion II, 2021 is a continuation of the work Flausen Fusion, 2019. It consists of the three works Sie stehen so total auf dich, 2019, Amelie und Antonias Kinder auf dem Weg zum Urinstinkt, 2021 and Der Urinstinkt oder der Urin stinkt, 2021.

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June Fischer