It is this vision that Fischl's work is best known for. Because the object is multiarmed, it also stands for the sexual body, which in effect grows another limb. The fetish requires the artifical light of the television to reanimate it. The object itself is decontextualized, so in a way it is powerless. The television becomes this object that alters the lighting in the room and creates a magic.
ERIC FISCHL VGALLERY TV
The multilimbed fetish standing on the TV casts an ominous shadow on the wall. Fischl quoted in Eric Fischl, 1970-2000, New York, 2000, p. Years later, when I was searching for a way to represent this, I remembered everybody had these objects and nobody knew what the hell they meant." (E. In some ways it was meant to represent worldiness, but what it really highlighted was the smallness of their own reality set against this object they didn't really know anything about. Something bought at the airport, a Japanese scroll, a little Chinese carved ivory knickknack, or a Caribbean doll. In an interview with Robert Enright, Fischl explains his use of the fetishistic statue in this particular work: "I grew up in an environment where every house I went to had some object that was foreign. The television measures by its presence the void between the people and it's fragmented, palely flickering stream of images provides a metaphorical description of the insubstantiality of emotions and relationships. The TV set participates and mirrors it fills rooms with coded messages and rays. Fischl quoted in Eric Fischl, Amsterdam, 1991, p. TV blends into the room situations and events that don't take place in that room." (E. You're hearing stuff that's not where you are. You're actually listening to something that's not there. You rely heavily on them, and at the same time they're alienating devices. I have mixed feelings about those objects.
Fischl explains, "The objects that surround my work are objects that extended perception: the telephone, binoculars, a Walkman, a television. What is interesting in this image is that the boy appears to be more preoccupied by finding the right channel on the television than in the woman who is taking her underwear off. In addition as in most of Fischl's work there is always the chance for the young boy to relinquish the role of observer and become a participant, a privy party, and possibly a victim. As is evident in Slumber Party this voyeuristic situation already constitutes a certain loss of innocence. A reoccurring theme in Fischl's work is the isolation and sexual awareness of puberty in relation to the adult world which still lies outside the adolescent range of experience, but to which access is gained in the encounter with sexuality as a rite of passage. His sleeping bag is laid out on the floor, implying that he is not sleeping with her, and yet she is undressing so the tension of sex is in the air. In this particular scene, the artist has captured a moment where a young boy is preparing to sleep in the room of a woman who one assumes is a housekeeper or the maid.
Fischl's paintings are like stills from films moments lifted out of plots and sequences. In Slumber Party, we as viewers are privy to a world of secret thoughts. Fischl's works are charged with suspense it is this psychological tension that drives the artist's work and peaks his audience's interest.
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