AJ Fosik has appeared in pop culture art magazines such as Hi Fructose, Swindle, and Tokion throughout the last 12 years, though he seems mysteriously unreachable, as though he never actually existed, but was invented temporarily and disappeared. He is a modern artist, and in the fashion of the time, he remains elusive and cool…or at least maintains this appearance in interviews and photos. When I first saw his work I was completely amazed at what I saw, thumbing through a magazine that someone had left in a free pile. How could such detail come from a man with no apparent experience in art?
Fosik rarely expresses human beings in his art, but remains firmly planted in his love of the animal kingdom- whether real or slightly fictionalized creatures, giving them wide expressions, and a great deal of emotion. He himself seems to be a creature of sorts, traveling the country, never quite finding the means to settle. His name alone symbolizes who he is, acting as a blatant metaphor of his persona. The name “Fosik” (originally spelled with two S’s), is “…a verb to describe the act of people sifting through mine washings or waste piles to look for any gold that might have been missed; sorting through the garbage to find gold.” (SWINDLE magazine) His original occupation was a woodworker, and he would use scrap material to create pieces of art for fun. Soon enough, his work was being hung in galleries around the country.
As a carpenter, Fosik already had a great deal of experience with using tools as well as his hands to create sturdy wood-based structures. His pieces are almost always found in layers, and seem to emote a kind of holy or sacred silence while expressing animals in their most enlivened states. This alone perfectly expresses silence and dynamism acting in one place at the same time. The bilateral quality of these pieces of art is literal and poetic, since his wall hangings could be sliced down the middle, folded, over, and be perfectly balanced, though it would be a great waste of art. They also force us to stare into a mirror when taking in his creations, completely saturated in our own primal nature, and the possibility of being something more than Human. There is a great level of depth in any one of his given pieces- the eyes sink back into endless circles, then popping out again. The outwards direction of the wooden fur of his creatures seem to pull at the face of the animal, emphasizing its grimace, and for everything pointing upwards, there is also something pointing downwards. Getting more into the technical parts of his work rather than the poetic, I’ve noticed that, though none of his pieces are dihedral, almost all are bilateral, and some are even cyclic. When mentally tracing the orthogonal lines of his pieces (if you were to treat them as flat), the central vanishing point is always at the very center of the piece, either at the middle of their mouth or the at the point between the creatures eyes. If these pieces of work could make any noise, they would certainly be shrieking, growling, snarling, or laughing. I’m drawn to the colors he uses, as he tends to favor hyper-shades, almost like neon pastels. After rethinking the artist I would use for this assignment, his name struck me like lightning, because his work is not only dimensional, but almost completely symmetrical.
When I think about his pieces without looking at them directly, I actually become happy. There is something beautiful in their energy, something I’ve never quite seen before in art.
When considering the colors he uses in contrast with the colors he is often seen wearing, it is unavoidably clear that in no way does he attempt to “become” his art. He already is, simply by creating it. Seen in faded sweat shirts or coffee-stained T’s, AJ Fosik is not a man of many colors on the outside, yet he clarifies his inner nature by expressing it outwards, screaming in peoples faces with it, bearing his teeth through the wide-eyed expressions of his personal static animal kingdom.
The creatures heads hang on art gallery walls like trophies from a hunt. There is a relationship between the artist and the art. Here, he is literally bearing himself as his own kill, brandishing the findings for people to admire. There is perhaps something disturbing in this notion, yet unquestionably admirable.
When I think about what he does, I become overwhelmed with a sense of love and curiosity. Everything about it shines a light on my minds hidden corners, and that is what art should indeed do. There is something beautifully geometric about his art, and it is said that symmetry is one of the most attractive traits for a person to observe. Maybe I’ve fallen in love with his work! It certainly wouldn’t seem impossible.