Ida C. M. Fisker works with tactility, repetitive making, and the mundane magic of unseen labour. These elements feed her practice of witchcraft, as well as her exploration of fem and non-binary storytelling across time. Making is a power move, even when the power is soft and slow.
Her works are a way to draw upon two main muses and energies, The Strange and the Known that manifest physically and spiritually in her art.
You are looking at a garden of data crystals. The Data Crystal Garden highlights the growth of crystals formed from computer parts used for radical and hacked data. In neo-spiritualism, where minerals are seen as conductors of energy, these crystals emerge as rebellious political statements, encapsulating memories and ideologies. This garden represents a convergence of forces: nature, magic, activism, and the struggle against digital monopolies, where technology and nature intertwine to tell a new narrative of resistance in the age of technology.
CO: What ideas or themes inspire your work?
I.C.M.F: My work is inspired by a tapestry of themes that have been significant throughout my life, particularly from my childhood. My practice of magic and my fascination with herbology, geology, alchemy, and fem and queer history are deeply intertwined with mysticism. The strange, serendipitous occurrences on the internet, such as accidental chat room poems and political discourse, also inform my work, alongside anarchist theories. These diverse elements allow me to explore the intersections of nature, technology, and identity in rich and complex ways. My current project, The Materiality of the Soul and the Underworld Connections, examines how we extract materials from the earth, transform them into cables, and use them to transmit signals, selfhood, and knowledge. This investigation into the physical and metaphysical connections formed by underground cables reflects broader themes of environmental impact and digital identity. By delving into these ideas, I aim to uncover how our digitised identities might leave traces in the physical world and how our communications influence our sense of self both practically and spiritually.
CO: What are the biggest challenges you face in your practice?
I.C.M.F: One of the biggest challenges I face in my practice is managing the sheer volume of ideas and materials I generate. I am someone who creates a lot; for me, an idea hasn’t been fully processed until it has been built, sketched, and written down. This results in significant accumulation in my head and physical studio space. To address this, I focus on repurposing and reusing my previous works, materials, and research, finding new contexts and meanings for them. This process often involves ‘killing my darlings’—letting go of certain pieces or ideas. By continuously refining and re-evaluating my practice, I aim to create a more sustainable practice and a cohesive body of work.
CO: Could you describe your approach within the broader fine art field?
I.C.M.F: My works are always research-based, with multiple layers to peel away, but I do not shy away from beauty or intrigue, as these can draw the eye, often through juxtapositions such as crystals and motherboards. I engage with online politics and the pressing matters of our environment and anthropocentric worldview, focusing on red politics rather than right-wing discourse, which I find madness-inducing. My approach begins with identifying connections between seemingly disparate elements—such as the physical components of technology and metaphysical ideas about the soul—and then engaging in rigorous material research to understand these connections more deeply.
