URS FISCHER： Chaos#501

“I like the idea of error. I think it’s just a beautiful word. Anything we do successfully in life is a potential error.” Urs Fischer, a New York City-based artist, mentioned it on The Brant Foundation. This perspective lends his art a fascinating, playful, and defies limits. The NFT artwork, Chaos #501, is built from thousands of 3D models. Most of the items are familiar, such as basketball, toilet, Connect Four, and wigs. Those objects are rotating and are not limited by the physical rules of our world as they infinitely penetrate one another across the screen. These sculptures operate as archaeology in the present, aiming to be able to show the form of three-dimensional sculpture in motion. Fischer's practice is characterized by a diversity of materials, strategies, and concepts. One of his most famous works is a giant wax figure, Untitled (2011), modeled after Jambologna's Rape of the Sabine Women (1579–83). The wax drips and solidifies during the melting process until it becomes nothing like death. The work mixes the ephemeral and the unique as it melts. Fischer experimented with previously uncharted territory in the Chaos series, expanding materials from real materials like clay and wax to digital virtual figures. Fischer's work is a distortion of reality that openly admits to being influenced by the Dada, Surrealism, and Pop Art movements. These movements resemble manipulating pre-made images to create surprising and inventive combinations, scale shifts, and occasionally strong collisions of visual information. On average, work such as his computer sculpture NFT series, "Chaos," sells for approximately $100,000. A 3D model fusing an ice cube tray with a frozen steak sold for nearly $70,000. Do commercial considerations and trends make this art valuable beyond the original art? —Yao Zhuo