Distressed Jean (2021) paper pulp: yellow pages, flour, salt, white glue and pop-corn, with denim threads, mason twine and watercolor

Dream Machine (2021) recycled plastic air pocket, egg carton, foam discs, plastic caps, electrical cable and mason twine

This ones got legs (2021) paper pulp formed in the hand around plastic caps, with added pencil-head erasers found to fit perfectly in the cap holes

Numerous additions were made to the Domestic Structures series during 2021 resulting in an exhibition-ready collection. ‘Repartea’ is a dinner-party installation opening on 16 January 2022 in Baltimore drawing its inspiration from previous ‘banquet’ events at Project 1628, a refined non-commercial setting in Baltimore’s historic Bolton Hill neighbourhood. The words ‘Repartee’ (conversation or speech characterized by quick, witty comments or replies) and ‘tea’ (a term used to denote ‘dinner’ or an evening meal in England as well as the Colonial ‘brew’ itself) combine to invite an imaginative viewing of this work. As place-settings for a sumptuous feast, and through the shifting and layered dialogues that emerge from their trashy parts, each sculpture is gradually revealed as both consumer and consumed - we are what we eat! Photograph shows 'Service' (2021) velour coxed jewellery box insert, foam discs and plastic

Diving Belle (2021) featuring ocean life (jacket)s (2021) mackerel tin lies, mason twine and bread bag enclosures with found metal funnel, peg board hooks and plastic take-out food container

incubation (2021) mackerel tin, insulation wool and packaging foam with under-water sucker, joined and wrapped in faded pink mason twine. Exhibited with Latela Curatorial and on Artsy.net as part of their online 'Garden Party' Exhibition

Muriel Aerial (2021) remodelled paper-pulp carton and cardboard tube wrapped, stuffed and coated with cotton, mason twine, foam, synthetic yarn and acrylic

Coast2Coasters (2021) set of 4 paper coasters printed with California beach day photographs, hand-finished with flocking and a water-resistant coat (edition of 25) made to accompany 'East Coasters' (2021) a set of coasters printed with Cape Cod beach day photographs

Elgin Marvel (2021) sculpture and Fine Art Print edition, plaster cast of super heroine boots photographed on the studio floor where it was made and later removed

home to roost (2021) Sculpture and Fine Art Print edition: egg cartons with insulation wool, plastic acrylic and bronzer

'the baby and the bathwater' IRL exhibition installation, 'Shelter in Place Gallery', Boston, Mass. Making reference to climate change as well as psychological processes of individual growth, “the baby and the bathwater” is an assemblage of household reconstructions in which a delicate balance is achieved by preserving what is useful and recycling rather than discarding those things that no longer serve us well

sewing oats (2020) removable lid for oats and cable ties / observers book of the weather (2021) book bound with childhood French knitting and bread bag enclosures

Linguistic Relativity (2020) found glass and plastics with enamel metal tile

I am both all seeing plant and cautious animal and also none of those things (2020) reversible sculpture (photograph shows 'cautious animal' aspect) broken reading glasses, found plastic disc, tea and coffee filters, with acrylic and fiber

Visionary (Athena Noctua, little Owl) (2020) egg carton, crab mallets, plastic bottle tops and reading frames // Peelings (2020) mixed media studio scraps

'Re:paired with the colors all around'. Solo IRL exhibition installation at 'The Shed Space' Baltimore (2021). Studio works are re-assembled and re-made with color, highlighting an adaptability to changing environments that is in our nature(s). The exhibition Included a ‘free pile of healing Aloe Vera plants and ‘Brood X’, a natural cicada soundtrack. image show 'Madame Cholet and Alderney' (2021) two paper pulp cones with insulation wool, mason twine and lamp diffuser on paper edged wood-block flooring, installation view 'The Shed Space'

plastic bobbin, mason twine, egg carton, paper, clockwork mechanism

overpainted silk screen print (acrylic on gesso-coated calico) with silk curtain, duck tape and shed wall

Plant Care instructions pages from ‘home appliance testing’ overprinted with photographs of Aloe Vera plant, re-bound with mason twine on sections of wooden window blinds

Unfinished work (2019-2021) collaged silk screen print of photograph through length of French knitting (acrylic on gesso-coated calico) installed with mason twine

Girl Doll (girdle) (2021) uprooted tree, childhood French Knitting doll, mason twine, metal sieve, clear view TV, media player, video ‘working rhythms’ (74 seconds looped) The ‘French knitting’ doll that appears in Girl Doll (girdle) was a gift from my maternal grandmother . Spool knitting, corking, French knitting or tomboy knitting is a form of knitting that uses a spool with a number of nails around the rim to produce a narrow tube of fabric. The spool knitting devices are called knitting spools, Knitting Nancys, or French knitters. ‘Girdling’ is the destructive practice (in forest management) of removing a section of bark from around a tree to sever the essential connection between leaf and root. In antiquity, a girdle was a belt used to secure a square of fabric around the body, ‘gird’ meaning to encircle.

All armed and grown up (2019-2021) composite wood panels, cast concrete cones, plastic rod, mason twine and acrylic, installed with light bulb, insulation wool, Aloe Vera plant and silk screen transparencies Athena is the goddess associated with technical and strategic skill, warfare, weaving, and other kinds of expertise. In Roman Mythology she is Minerva, who came ‘all armed and grown up’ from her father’s brain, appearing with a countenance full more of masculine firmness and composure than of softness and grace. In one hand she held a spear and in the other a shield. In most of her statues she is represented as sitting.

'Domestic Structures' is a sereis of small works - assemblages of domestic, recycled materials - reformed into independent, self-reliant sculptures that (whilst often complex in themselves) are also entangled in relationships with 'others'. The works embody ideas of (re)making and (re)balancing complex personal and interpersonal structures (psychological self-care systems and practical arrangements for home-work life) for our new domestic and digital realities in the time of COVID. The 'ovo' series takes its form from the paper-pulp egg-carton and many of its references from Greek Mythology. Selected objects from both the 'ovo' and 'delicate balance' series were photographed by the ICA as part of their BADAS documentation project in 2020 and shown online in March 2021 in a solo installation at 'Shelter in Place Gallery', Boston, Mass. The complete collection will be on view from January 16 2022 at Project 1628 in Baltimore in the IRL exhibition installation 'Repartea'. ‘Repartea’ is a dinner-party installation drawing its inspiration from previous ‘banquet’ events at Project 1628, a refined non-commercial setting in Baltimore’s historic Bolton Hill neighbourhood. The words ‘Repartee’ (conversation or speech characterized by quick, witty comments or replies) and ‘tea’ (a term used to denote ‘dinner’ or an evening meal in England as well as the Colonial ‘brew’ itself) combine to invite an imaginative viewing of this work. As place-settings for a sumptuous feast, and through the shifting and layered dialogues that emerge from their trashy parts, each sculpture is gradually revealed as both consumer and consumed - we are what we eat! Image depicts 'Fountain of Artemis at Ephesus' a floated print (printed area h14 x w 14") on h20 x w16" Museo Portfolio Rag (300gsm) in custom, handcrafted, wood frame by New Standard Frames (Baltimore). Featuring an egg carton and string sculpture that was later found to resemble the Ancient Greek statue of Artemis at Ephesus recreated as a fountain in the renaissance garden, Villa d'Este, Tivoli, Itlay.

wooden weaving frame with cotton warp, wool, wooden pegs, egg-carton and construction string (w30 x h31 x d12 inches) As a provisional egg-carton sculpture moves into woven form it develops legs. Not yet fit for purpose the legs are more like tentacles exploring their new environment.

floated print (printed area h14 x w 14") on h20 x w16" Museo Portfolio Rag (300gsm) in custom, handcrafted, wood frame by New Standard Frames (Baltimore). Image depicts a crab mallet and egg carton sculpture with spectacles and shadow, thought to resemble an owl, one of the symbols of Athena. The original sculpture is included in my solo exhibition installation at 'Shelter in Place Gallery' March 2021, 'the baby and the bathwater'

Full bleed print on h20 x w 16” Museo portfolio rag (300gsm) in custom, handcrafted wood frame by New Standard Frames, Baltimore. Pants: an undergarment that covers the genitals and often the buttocks and the neighbouring parts of the body (underpants), used in slang to describe something worthless or as an expression of something going awry

cellular (*NEW 2020) egg carton, plastic and acrylic sculpture (l 4.25 x w 3.25 x h 1 inches), also produced as a silk screen print (acrylic on craft card 8.5 x 11.5 inches)

'rise' (*NEW 2020) egg carton and acrylic (h 4 x w 4 x d 4 inches)

'look me in the eye and tell me that' (*NEW 2020) found fibre-wrapped copper cable with holiday decorations and acrylic (dimensions: h8 x w10 x d6 inches)

'a delicate balance' (*NEW 2020) single table leg with wheeled foot and upper horizontal support held upright by two sets of parallel pink strings which in turn provide support for a complimentary colored assemblage (found plastic fruit and veg packaging connect to each other through slits in an acrylic painted bubble-envelope-label support). Dimensions: h variable w 33 d4 inches. Image shows close up of installation. Colours are found reversed on the 'other' side of the assemblage.

'dark circles' (*NEW 2020) found foam shapes with underwater weights. Dimensions (left) h 2.5" x w 5" x d 3.5" (right) h 2" x w 5" x d 5"

'Sloppy Jo' (*NEW 2020) photographed as part of the ICA BADAS project

photograph of paper collage on found book page shared on @ekplisso instagram November 20, 2020, in response to @Lucygresley's paper collage titled, 'Ready to Hide.

'full bloom (getting to the Medusa stage)' (*NEW 2020) doubled sided paper collage: watercolour and pencil on found booklet pages, folded. Image shows reverse view. Posted on instagram with associated text describing the never-ending cycle of the jellyfish

'is Octo(ber) man Nuclear man's shadow?' (*NEW 2020) paper puppet with popsicle stick and waxed paper skirt photographed with shadow and posted with insert photograph of 'Nuclear Man' previously posted by Lucy Gresley

'(enemy) of the pipework' (*NEW 2020) paper collage with cardboard tube support photographed duplicated and re-assembled for two-dimensional viewing

'nostalgia / filling gaps and picking holes' (*NEW 2020) free-standing paper collage with watercolour, split rock, sea shell and jug (reverse view) photographs posted on @ekplisso September 19 2020 and published in Nefarious Contemporary's 'Memory' Zine December 2020

'Black Swan Excavator' (*NEW 2020) photograph of found object assemblage with collage attachments posted on instagram September 2 2020 with associated photographic memories of a research trip to Orkney 2017 with artist-collaborator, Lucy Gresley

'recovering Venus' (*NEW 2020) paper collage with watercolour featuring the Capitoline Venus posted on instagram August 21 2020 in response to Lucy Gresley's collage, 'structures may be unexpectedly uncovered', with related text

'never ending story' (*NEW 2020) mixed media collage on folded paper previously posted on instagram as a series of photographs of the work un-folding, made in response to Lucy Gresley's 3d paper box collage 'Trilogy'

'out of the mountain' (*NEW 2020) mixed media collage on paper posted on instagram in response to Lucy Gresley's 'Was this Ephialtes?' following a conversation about giants in Greek mythology and in Orkney

'the urge to defenestrate / just jump already!' (*NEW 2020) paper collage on printed photographic cut-out featuring 'Aprodite's arm holding Eros' from the Walters Art Museum (under Creative Commons licence)

'animation nation' (2020) opening credits for an imagined film in which anima take over an abandoned zoo (aspect ratio 1920 x 1080)

'hanging around' (*NEW 2020) 1 second looped stop-motion video (aspect ratio 1080 x 1080) from the 'ten minute sculpture / anime' instagram series (found wood, plastic and cable tie with stop motion photography and vintage comic filter)

'the lives of a cell' (*new 2020) 42 second looped video negative (aspect ratio 1080 x 1080) (sunlight and concrete) “We live in a dancing matrix of viruses; they dart, rather like bees, from organism to organism, from plant to insect to mammal to me and back again, and into the sea, tugging along pieces of this genome, strings of genes from that, transplanting grafts of DNA, passing around heredity as though at a great party” Lewis Thomas ‘the lives of a cell’ (May 1974)

'not going anywhere' (*NEW 2020) 9 second looped video (aspect ratio 1080 x 1080) collage fragment holds fast in studio fan

'freckle' (*NEW 2020) 6 second looped stop motion video (aspect ratio 1080 x 1080) a series of digital negatives, photographs tracking the sun through the trees, juxtaposed with an ultrasound of my left eye

'snow day' (*NEW 2020) 11 second looped video (aspect ratio 1080 x 1080) egg-carton fountain of Artemis at Ephesus with video of snow falling outside apartment window during the holidays

74 second video (aspect ratio 1280 x 720) recording of bungee chords used for window cleaning of apartment block recorded from the inside the building looking out

Spirit Lake/Kirk Wall (2018) two 46 second video loops (one with audio) with synchronised movement of falling leaf and crow in flight (aspect ratio 1280 x 720 each) shown on two monitors with ladder, headphones and shadow Installation view SLUICE: EXCHANGE BERLIN (part of the British Councils UK/DE 2018 season) "…The atmosphere of the sinister ice lake is impressively evoked by the artist’s reduced, dominating white……a deliberately disturbing sound installation in which you can hear the sound of a crow in slow motion…….the two works are mutually dependent……The installation calms and troubles at the same time” (Sandra Ratcovic http://www.chasedmagazine.com)

'Crossing the Chesapeake (Pamlico Sound)' (2019) 73 second looped video (aspect ratio 1080 x 1080) two videos of journeys across the Chesapeake are juxtaposed

'Parameter Transcript' (2018) 100 second video loop (aspect ratio 1920 x 568) original footage from sound commission for B-side Festival and OSR Projects (2016)

'Robin's Egg' (from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)

Aphrodite's Mirror (from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)

'δε πτερόν (two wings)' (2018) (from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)

ἕρπω (I crawl)' (2018)(from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)

'Head_Land' (2018) (from 'Assembly' painting series) acrylic, copper finishing wax and gesso on muslin covered board (w20 x h24 inches)

'Threshold (folded form)' (2018) installation view showing cut-out canvas form folded and resting on its former stretcher support (frame support w40 x h34 x d21 inches)

'Threshold (drawings)' (2018) graphite and gesso on muslin covered board (w 8 x h 10 inches each)

'Consol(id)ation' (2018) w16 x h20 inches full bleed fine art print on Museo portfolio rag 300gsm. A form cut from an abandoned painting is folded, its new shape duplicated from canvas remains before the two forms are consolidated, scanned, collaged and printed

'D’m’t-er? city poster I' (2018) photographic cut out printed on poster paper (w18 x h24 inches) best in show award 'Studies and Source: inspiration' Specto Arts (August 2019)

'D’m’t-er? city poster II' (2018) photographic cut out printed on poster paper (w18 x h24 inches) best in show award 'Studies and Source: inspiration' Specto Arts (August 2019)

'D’m’t-er? city poster III' (2018) photographic cut out printed on poster paper (w18 x h24 inches)

'D’m’t-er? city poster IV' (2018) photographic cut out printed on poster paper (w18 x h24 inches)

'D’m’t-er? triptych' (2018) photographic cut out fine art print (h20 x w76 inches)

'D’m’t-er? souvenir' (2018) wood, acrylic and metal (dimensions variable: support h12 x w12 d 0.5 inches). Cut and painted wood forms reminiscent of headless mother goddess souvenirs from the Archaeological Museum in Valetta (Malta) escape from their former support

'D'm't-er bound' (2018) acrylic painted wood figurine with metal bolts (w5.5 x h4 x d3/4 inches). Originally created as a bespoke tripod plate for a video projector, the form becomes a figure whose limbs are bound by the bolts that would have attached to the tripod legs. Rendered immobile the form is released in the related work 'souvenir'

'Finding Core' (2018) fine art photographic transfer print on cotton rag in 'cut-off' three sided frame

'shadow at work (water basket)' (2017) A3 photographic light box (wood, acrylic, LEDs, digital pigment print). Photographs taken in the process of making a basket from found material on the riverbank. When completed the basket was lined with mud and other photographic works were made from the process.

'(un)finished work' (2017) fine art print: photograph taken in the process of making a basket at a workshop run by local basket artist and Gloucestershire Guild of Craftsmen member Susan Early

'Brodgar mobius strip' (2017) prototype mobius strip made from length of printed paper; images photographed at Brodgar Stone Circle, Orkney

'survey book' (2017) drawings of mud shards retrieved from dried and cracked mud-lined basket made on survey paper

'survey book' (2017) drawings of mud shards retrieved from dried and cracked mud-lined basket made on survey paper

'Knotgrove Kneeler?' (2017) fine art print: photograph taken during research visit to Cheltenham Art Gallery and Museum to study the archaeological archive of local female archeologists and investigate the re-writing of their findings which later reduced the Knotgrove Kneeler idol to 'just a lump of old rock'

'Neolithic Time' (2017) fine art print: digitally collaged photographs from covered excavations at the Ness of Brodgar (Orkney) and a walk in the woods (Gloucestershire)

'End of Season' (2017) fine art print: photograph from covered excavations at the Ness of Brodgar (Orkney)

'Standing Stones' (2017) sketch book drawings for wall installation: ink on paper

Para(meter) (2016) installation view B-side Festival, Portland: six lathe cut 12” transparent vinyl records (soundtracks of walking on pebbles recorded from inside ‘Weather Station’) with cyanotype printed covers on a turntable of European sea crates As research project Para(meter) aimed to consider how our human impulse – to separate and measure a constantly changing world – impacts on our understanding of and reaction to climate change. ‘Weather Station’, a giant inflatable ball, was co-opted as metaphor for the psychological bubble (our self-care system) that utilises the unconscious function to protect us from the pain of ‘real’ life events. “The audio playback abstracts into a kind of white noise which, when played through Fisher’s chosen medium – vinyl record – sets the viewer onto a contemplative journey where the record’s eternal cycle puts one in mind of Fisher’s own trundle-wheel traversal along the shore, and after a while the rotation of Earth itself.” (Trevor H. Smith this is tomorrow published 29 Sept 2016) Commissioned by OSR Projects/B-side Festival for Weather Station (part II) and exhibited at Drill Hall Gallery, Portland, Dorset during B-side Festival 2016

'Parameter Transcript' (2018) 100 second video loop (aspect ratio 1920 x 568) original footage from sound commission for B-side Festival and OSR Projects (2016)

'ness -ness nest nestle net (table)' (2015) installation view close up, Hardwick Gallery, Cheltenham: dictionary, mortar and pestle, found pebbles on table with cast concrete and scaffold base plate supports (w:112 x d:90 x h:107.5 cm)

'ness - ness nest nestle net (table)' (2015) installation view, Hardwick Gallery, Cheltenham: wooden table with cast concrete and scaffold base plate supports, dictionary, mortar and pestle, found pebbles (w:112 x d:90 x h:107.5 cm)

'ness -ness nest nestle net (net weight)' (2015) installation view Hardwick Gallery, Cheltenham: 42” Landing net with 1 oz brass weight (dimensions variable)

'Tidetable (Cheltenham)' (2015) installation view Hardwick Gallery, Cheltenham: digital pigment print and found objects on studio table with recreated residency image in 3d on floor of gallery

'PiddockRange' (2015) installation view Hardwick Gallery, Cheltenham: 'piddock' peat fossils collected on Chesil beach are reassembled on gallery window sill with target practice paper through which light passes

'Loophole (Chapel Loop)' (2014) installation view The Chapel, Francis Close Hall, University of Gloucestershire: photocopied and collaged contact photograms are re-created on boards that match the brickwork of a curved wall to the rear of the Chapel. Windows to the left and right light up the central light-filled aspect of the image whilst the windows above mirror the original pill box window from which the work is derived

'Loophole (photograms)' (2014) photocopied and collaged contact photograms on board (21cm x 63cm each). Darkroom photograms produced by projecting light through the window of a replica WWII concrete pillbox. The photograms are reminiscent of the view from the original pillbox on Chesil Beach.