Adjacent to the festive consumerist glitz of Regent Street, the Sadie Coles gallery is inaugurating a brand new space with an exhibition of Urs Fischer mirror sculptures as dazzling as any designer shop window.
Fischer has littered the space with a variety of giant mirrored boxes with views (front, back, sides and top) of everyday objects screen printed onto each side in hyper-real digital detail. Giant cigarette packets, high heeled shoes and oversized chairs dwarf viewers like a Pop Art hall of mirrors throwing around its imagery while incorporating the reflection of the viewer in a labyrinthine mash-up of hard fake veneers and reflected real-world depths.
The work has a definite sinister feel despite the fun colourful and eye-catching exterior; seeing your own reflection dwarfed by the image of a 7ft duckling is disconcerting for starters. But Fischer has taken for his title the 50s filmmaker famed for his conspicuously stylized Technicolor melodramas; kitsch and seemingly banal stories that nonetheless concealed a barbed critique of society’s values. The same sentiment aptly reflected in Fischer’s installation.
Each object is deconstructed by compressing its three dimensionality into a series of two dimensional screen printed plains of images. These plains reform into a recognizable three dimensional form that borders on familiarity, the surfaces tricking the viewer with depth and flatness and re-presents these objects to the viewer in a format that is very recognizable and consumable. A bright, jolly clementine has its rounded, soft form flattened out into hard images that, despite their billboard-like appeal, reflect none of the juicy, sweet allure of the real thing. In this hall of fetishised items (Marlboro makes an appearance, as does Diet Coke), the viewers image incorporated within the work constantly reminds us of our complicity with the types of images that we consume and are forced to be absorbed by.
-- Laura Bushell
All images courtesy the artist and Sadie Cole HQ, London
Images: Urs Fischer, Douglas Sirk, installation view, Sadie Coles HQ London,