FINE ARTS | Claudia Fischer

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1985 Women in Plastic Arts, collective.
Museum of Contemporary Art. August.

Bogota, Colombia

1984 Strumacou” (Sculpture) ,Collective
(Structure, matter and color)
Galerie des Beaux Arts, 14 Rue des Beaux Arts.
January. Paris, France

Eleves de la Colombie. Collective

Ecole des Beaux Arts, January

Paris, France

Salle de St Juin, ST Cloud,

February. Paris, France

Homage aux Saupeurs et Pompiers de la Ville de Paris. Collective,

XVeme arrondisement. April. Paris, France

Arts

1984 Strumacou, sculpture, structure, matter and color, collective, Galerie des Beaux Arts, 14 Rue des Beaux Arts.

January. Paris, France

Bandage: A Textile Reflection on Pain and Healing

The work series Bandage, made between 1981 and 1983, emerged creatively in the textile workshop of Master Gino Silvestri, at the Ecole des Beaux-Arts in Paris. The period was characterized by a little innovative artistic production in many of the workshops of the time, found in the space of the master Silvestri, a refuge of experimentation and expression. Claudia Fischer transformed her experience into a powerful metaphor about pain, life, and the possibility of healing. Fischer’s work begins with the delivery of paintings by Silvestri himself, which become the material on which his vision unfolds.

From this textile material, the artist addresses reflections on the very craft of weaving: weave and warp the weft and warp become symbols of existence. Wounds and suffering are manifested through the visuality of the bandages.

Fischer turns the canvas into strips, which, in a touching allusion to human frailty, are transformed into bandages. It begins with a warp that resembles curtains, covered in these strips, giving life to small figures that evoke human beings or lianas, connecting the natural with the human in an almost sculptural dance. The choice of black as a skeleton that supports these forms is complemented by the pictorial definition of the three primary colors -yellow, blue, and red-, bringing a vibrant and emotional dimension to the work.

The culmination of this exploration is the Strumacou exhibition, curated by Silvestri in January 1984. This title, which merges "structure", "matter" and "color", encapsulates the essence of Fischer’s work, where each element is intertwined in a conversation about identity and transformation. While life leaves us blindfolded, it also may offer the opportunity to keep circulating, reinvent, and heal ourselves.

Blindfolded is not only an artistic manifestation; it is a testimony of the power of art to address the deepest part of human experience. In every cloth strip, in every bandage, there is a story of resistance, pain, and above all hope. Claudia Fischer’s work stands as a reminder that, although we are not the same, there is always a way to heal. The cloth strips in Fischer's work symbolize the layers of human experience and the complexities of healing. Each strip represents a fragment of life, torn yet carefully woven back together, reflecting the resilience required to overcome hardship. Through these strips, Fischer illustrates the idea that healing is not a linear process but a tapestry of moments that, when woven together, create a cohesive narrative of recovery and renewal.