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Work Samples

*NEW Domestic Structures: 'Ovo' series

'Fountain of Artemis at Ephesus' (*NEW 2020) fine art print: 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). From the 'ovo' series of ‘domestic structures’, produced during the COVID ‘lock down'. Image depicts 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.

sssshhhh (*NEW 2020) from @ekplisso instagram collaboration

'sssshhhh' photograph of paper collage in found book (*NEW 2020) shared on instagram as part of @ekplisso project. Launched during the 'covid lockdown' @ekplisso (εκπλήσσω (ekplisso) : to amaze, dumbfound) is an online collaboration between artists Elaine Fisher and Lucy Gresley that utilises instagram as a means of publishing conversational artworks in real time. Structured around the instagram ‘post’ each artist submits in turn a two dimensional version of work that has been made as a direct result of an ongoing conversation.

'I am both all seeing plant and cautious animal' (*NEW 2020)

'I am both all seeing plant and cautious animal' (*NEW 2020) reversible sculpture from domestic structures 'delicate balance' series (dimensions: h 6 x w 7 x d 7 inches media: broken spectacles, found plastics, fibre and acrylic). Image depicts the 'cautious animal' aspect which will be included in the March 2021 solo exhibition installation at 'Shelter in Place Gallery' (Boston, Mass.) together with a print of the upturned 'all seeing plant' aspect.

'all armed and grown up' (2019-2020)

'all armed and grown up' (2019-2020) from the mythellany series part 1: Athena (media: wood, concrete, construction string, acrylic, found object dimensions: variable, approx. space required 49 x 49 x 34 inches (boards: 23.5 x 23.5 x 0.5 inches; concrete supports: 9.5 inches high)). The title and form - a seated warrior - refers to a description of Athena's birth, arriving "all armed and grown up from her father's brain".

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About Elaine

Baltimore City

Elaine Fisher's picture
I make sculptural works and images from found objects and materials, placing things in relation to see where they ‘fit’ together, mirror each other or provide compliment or contrast.  Through photography, word-play and installation I attempt to capture the way things interact with the environments they find themselves in, making connections between texts that I am reading and images that resonate from my photographic and video archive.  Working ‘in the moment’ I use studio shadows and instant... more

domestic structures: 'ovo' series (*NEW 2020)

'Domestic Structures' (*NEW 2020) 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.  Objects from both the 'ovo' and 'delicate balance' series were photographed by the ICA as part of their BADAS documentation project in 2020 and will be brought together in March 2021 in a solo installation at 'Shelter in Place Gallery', Boston, Mass.

  • fountain of Artemis at Ephesus

    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 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.
  • growing frame

    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.
  • Visionary (Athene noctua)

    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'
  • Pants!

    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
  • doing the vena cava (life raft for Atlantis)

    In the ‘Domestic Structures’ installation, ‘Pants!’ and ‘Visionary (Athene noctua)’ come together as the inferior and superior vena cava (two parts of the large vein that returns blood to the heart from the lower and upper body) escaping on a life raft from the sinking city of Atlantis (media: egg cartons, rope, acrylic, spectacle frames, crab mallets, belt and whistle; dimensions: 10.5" x 12" x 12”)
  • home to roost

    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 two studio photographs that have been digitally collaged together (1. egg carton sculpture with acrylic-coated plastic and bronzer 2. wool outer-insulated cardboard 'house' with diamond cut-out window, upturned salvaged wood flooring, reversed sand paper and tiled, reflective, flashing tape walls)
  • cellular (*NEW 2020)

    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)

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

    '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

@ekplisso (*NEW 2020)

 @ekplisso (εκπλήσσω (ekplisso) : to amaze, dumbfound)  is an online collaboration between artists Elaine Fisher and Lucy Gresley, launched in June 2020 in response to the COVID 'lockdown', that utilises instagram as a means of publishing conversational artworks in real time.  Primarily based around the instagram ‘post’ each artist submits in turn a two dimensional version of work that has been made as a direct result of an ongoing conversation.  Work to date has focussed on an expanded idea of collage which includes two and three dimensional works that converge with the artists main practices.  Conversations begin privately on zoom and are developed online as works are made and juxtaposed, relating to each other visually, and conceptually through titles and stories that are shared in the post’s comments.  

Originating in an increase in email and Whats App messages when Elaine moved to the USA in February 2018, Ekplisso grew out of the necessity to continue sharing ideas and a desire to undertake collaborative ventures despite geographical limitations.  In the strange new world of COVID Ekplisso took on increased significance as a place, a virtual studio (visit) in which we could meet and share work.  At a time when Instagram has became a safe, socially distanced, proxy for the physical exhibit, Ekplisso has tested its limitations but also uncovered new possibilities for the exhibition of art; creating a situation in which collaborative work maintains its real-time, conversational relationships, showing work at the time of its making, as the exhibition is being built.

In Greek mythology, the Labyrinth (Greek: Λαβύρινθος, labýrinthos) was an elaborate, confusing structure built by Daedalus for King Minos to hold the Minotaur. From as early as 430 BC the Labyrinth was re-imagined as a Classical ideal, a single-path of seven-courses (without branches or dead ends) that spirals towards the centre. It was not until the Renaissance that the confusing concept of the Labyrinth was re-born as the popular hedge-maze. Labyrinth and maze have become synonymous, yet scholars call for the distinction to be upheld. For clarity, and to honour the Greek origins of the complex labyrinth, we have chosen to utilise the greek verb, εκπλήσσω (ekplisso, to amaze or dumbfound) to describe the various pathways that intersect, diverge and end as we make work in conversation.

  • sssshhhh (*NEW 2020)

    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)

    '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)

    '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)

    '(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

    '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)

    '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)

    '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)

    '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)

    '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)

    '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)

domestic structures 'delicate balance' series (*NEW 2020)

'Domestic Structures' (*NEW 2020) 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 'delicate balance' series takes its form from hard-to-recyle household objects such as plastics and metals and references the impact of plastics on ocean life and overproduction on climate change .  Objects from both the 'ovo' and 'delicate balance' series were photographed by the ICA as part of their BADAS documentation project in 2020 and will be brought together in March 2021 in a solo installation at 'Shelter in Place Gallery', Boston, Mass.

  • 'dark circles' (*NEW 2020)

    '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"
  • 'I am both all seeing plant and cautious animal' (*NEW 2020)

    'I am both all seeing plant and cautious animal' (*NEW 2020) reversible sculpture from domestic structures 'delicate balance' series (dimensions: h 6 x w 7 x d 7 inches media: broken spectacles, found plastics, fibre and acrylic). Image depicts the 'all seeing plant' aspect which will be included in the March 2021 solo exhibition installation at 'Shelter in Place Gallery' (Boston, Mass.) as a print together with the sculpture in its 'cautious animal' aspect.
  • 'light filter' (*NEW 2020)

    'light filter' (*NEW 2020) mixed media (found object with re-shaped plastic spice sprinklers, cable ties and acrylic) dimensions h 3.5" x 6" x 5" photographed as part of the ICA (Baltimore) BADAS project (right image)
  • 'look me in the eye and tell me that' (*NEW 2020)

    '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)
  • 'peelings' (*NEW 2020)

    'peelings' (*NEW 2020) dried paint scraped off studio floor and acrylic painted foam form made from biodegradable packing peanuts (dimensions: h3 x w6 x d 4 inches) part of solo exhibition installation, 'the baby and the bathwater', at 'Shelter in Place Gallery' (Boston, Mass.) March 2021.
  • 'a rainbow for Lucy' (*NEW 2020)

    'a rainbow for Lucy' (*NEW 2020) glass object with found plastic inserts and red enamel tile (dimensions: h3 x w3 x d3 inches) part of solo exhibition installation, 'the baby and the bathwater', at 'Shelter in Place Gallery' (Boston, Mass.) March 2021.
  • 'a delicate balance' (*NEW 2020)

    '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.
  • 'complex (of) connections' (*NEW 2020)

    'complex (of) connections' (*NEW 2020) found plastics, wire and rubber with acrylic paint shown displayed on upturned egg carton stack (dimensions: (wire assemblage) h 8 x w8 x d 7 inches)
  • 'Coaptation I' (*NEW 2020)

    'Coaptation I' (*NEW 2020) fine art print, photograph of a stack of transparency images for two silk screen prints. (dimensions: 14 x 14 inches floating on 16 x 20 Museo portfolio rag 300gsm). The title comes from 'Animal Camouflage' by Adolf Portmann, a found book that describes 'coaptation' as the bringing together of two parts to form a seamless whole, a common feature of animal camouflage where patterns align on a closed and resting body, separating into parts during movement.
  • 'whilst something inside me is slowly and gently unfolding I am busy trying to make something happen' (*NEW 2020)

    'whilst something inside me is slowly and gently unfolding I am busy trying to make something happen' (*NEW 2020) fine art print (dimensions: 16 x 20 inches full bleed on Museo portfolio rag 300gsm)

mythellany: part 1: Athena

a series of assemblages that find psychological meaning in their juxtaposition with new feminine translations and often overlooked interpretations of Ancient Greek mythologies.  In Psychological terms, as goddess of the city (of Athens), Athena represents the complete self, expertly holding together many moving parts, parts that are undergoing a constant process of change and renewal.  

  • 'all armed and grown up' (2019-2020)

    'all armed and grown up' (2019-2020) object assemblage with wood, concrete, construction string and acrylic (dimensions: variable, approx. space required 49 x 49 x 34 inches (boards: 23.5 x 23.5 x 0.5 inches; concrete supports: 9.5 inches high)). Seated warrior formed from a series of wood panels that represent each stage in their making. The panels have been cut, rotated and finally re-joined with French knitting.
  • 'Jealousy (Athene and Arachne)' (2019-2020)

    'Jealousy (Athene and Arachne)' (2019-2020) mixed media assemblage featuring childhood French knitting doll, light cages and over-painted photographic transfer print on canvas (gesso, ink and acrylic on canvas with recycled yarn, two light cages, knitting doll, construction string and painted wood) dimensions variable (knitting cage: 12 x  8.5 x 6 inches; painted print: 10.25 x 8 inches) a photograph taken through an expanded version of French Knitting is reproduced in print.
  • 'Shame (Minerva, Juno and Venus)' (2019-2020)

    'Shame (Minerva, Juno and Venus)' (2019-2020) mixed media assemblage (over-painted silk screen print 12 x 9 x 1 inches and object shelf 18 x 18 x 7.5 inches) silk screen print on canvas wrapped wood with India ink and acrylic paint: a photograph taken through an expanded version of French Knitting is silk screen printed onto canvas using orange ink.
  • 'Liberation (Athene, Nymph of the Sea)' (2019-2020)

    'Liberation (Athene, Nymph of the Sea)' (2019-2020) mixed media assemblage: shelf/objects:  11 x 16  x 3.5 inches; collaged print: 10 x 8 x 1 inches silk screen print on canvass re-assembled on wood suppot: a photograph taken through an expanded version of French Knitting is silk screen printed (in two sizes) onto canvas using black ink on a pale turquoise background.
  • 'in memory of Pallas' (2019-2020)

    'in memory of Pallas' (2019-2020) mixed media assemblage featuring wood frame, mannequin and two canvas paintings on board (wood frame 59.5 x 37 x 18 inches; paintings: 10 x 8 x 1 inches each) A found window frame is re-assembled, cutting through the torso of a fibreglass mannequin. The upper part of the frame, refusing to stay in place, drops to form a shelf for two acrylic paintings on wood on which faint traces of a human torso's emerges from initial sketches of sections of a chain-link fence.
  • 'Daimones' (2019)

    five photographs taken through the diamond shaped windows of a building site hoarding in New York City, and a sixth 'shadow' photograph, printed directly onto wood panels.  One of the six is significantly larger than the others that come before and after.
    'Daimones' (2019) photographic prints on wood (large: w16 x h20 inches small w5 h7 inches each) photographs taken through the diamond shaped windows of a building site hoarding in New York City are directly printed on wood panels as if physically removed from the site. Each window provides a metaphor for inner experience; from quiet anticipation and intrigue through overwhelming clutter to guarded, obscured and closed.

Video shorts

I make short video and animation projection pieces from footage and photographs I collect on impulse as I might collect an object.  These works are related to specific projects, becoming integral parts of exhibition installations but they also often sit slightly outside of known space, perhaps taking the work in a different direction or pointing towards work that is yet to come.  Together they find their own project(ion) in relation, within and between works.  

  • 'animation nation' (*NEW 2020)

    '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)

    '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)

    '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)

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

    '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)

    '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
  • working rhythms (*NEW 2020)

    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)

    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).
  • 'Crossing the Chesapeake (Pamlico Sound)' (2019)

    '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)

    '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)

Creation Myths

body of work in which paintings and the painting process are seen as αρχέ(τυπα), archetypal symbols for the emergence of consciousness.  Emerging self-world landscapes are presented as portraits, archetypal symbols of the relationship between our constantly changing inner and outer worlds

Assembly painting series:  Through processes of washing away, sanding back and overpainting, conscious and unconscious forces engage in doing and undoing – mythology tells us destruction is also a creative act. The stretched skin is fragile (calico and muslin laid bare with clear gesso) and requires a support solid enough to withstand the storm.  Acrylic is the medium of choice because its fast-drying nature demands drastic, sometimes brutal, responses which help to keep the exchange active.  Each painting is seen as a self-portrait, the portrait of an inner landscape under a constant process of renewal.

Threshold series: In a damaged painting, cut out shapes, with seemingly endless possibilities, are found unable to change beyond their severed forms.  Through acts of folding, tracing, placing and consolidation the form is exhausted, finally found resting on its fragile support. There is nothing to be done other than to start again.

  • 'Robins Egg' (2018)

    abstract painting (acrylic and gesso on muslin covered board) with dominant colours in brown, red and 'robin's egg' blue
    'Robin's Egg' (from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)
  • 'Aphrodite's Mirror' (2018)

    abstract painting (acrylic and gesso on muslin covered board) with dominant colours in brown, blue and yellow
    Aphrodite's Mirror (from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)
  • 'δε πτερόν (two wings)' (2018)

    abstract painting (acrylic and gesso on muslin covered board) with dominant colours in blue and red
    'δε πτερόν (two wings)' (2018) (from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)
  • ἕρπω (I crawl)' (2018)

    abstract painting (acrylic and gesso on muslin covered board) with dominant washed out colours in blue and red
    ἕρπω (I crawl)' (2018)(from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)
  • 'Head_Land' (2018)

    abstract painting (acrylic and gesso on muslin covered board) with dominant colours in blue and yellow
    '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)

    forms cut from an abandoned painting lay over its now empty stretcher
    '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)

    six 10x8" drawings in graphite on muslin covered board traced from a form cut from an abandoned painting
    'Threshold (drawings)' (2018) graphite and gesso on muslin covered board (w 8 x h 10 inches each)
  • 'Consol(id)ation' (2018)

    '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

did you meet her (d'm't-er)?

'Did you meet her? (D’m’t-er?)' is a series of works that trace the artists’ pilgrimage around Valletta (Malta) in search of the Mother Goddess. (Not) finding Her (in His tomb but) in the architectural elements of a crumbling city, the works explore the projection of unconscious contents onto the material world and consider ways we might uncover the suppressed feminine, by ‘cutting out’ the established patriarchal contexts that surround the things She is drawn to.

  • 'D’m’t-er? city poster I' (2018)

    '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)

    '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)

    '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)

    '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)

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

    '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)

    '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)

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

Beneath

Collaboration with Lucy Gresley (2017) exploring the subjective plurality of artistic collaboration as an alternative lens through which to view the entanglements of things and our perceptions of them.

Framed by the study of Art and Archaeology at the University of the Highlands and Islands, Orkney (and incorporating a shared interest in Psychology) we recorded intuitive responses to encounters with what remains, exploring the potential of the right hemisphere (our primitive myth-making subconscious) to reach a deeper understanding of the past.  

  • 'shadow at work (water basket)' (2017)

    '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)

    '(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)

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

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

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

    '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)

    '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)

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

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

sites of (ex)change

Part of a series of residencies on the Jurassic Coast between Portland and Eype (Dorset, UK) exploring sites of (ex)change – where land and water meet – considering the frameworks within which meaning is made and knowledge formed of a constantly changing world and establishing my artistic practice in the triangulation between site (the territory of investigation), studio (the research discipline of working- through) and gallery (re- assembling artefacts for public scrutiny). As in academic research (and as metaphor for the uncertainty of borders) the ‘work’ is considered as existing both in and between the points of the triangle (a constantly repeating loop) despite only being ‘known’ through its publication at exhibition.

A walk along Chesil beach is repeatedly explored through boundaries and their transgression.  Pebbles are not permitted to be taken along this protected coastline but what constitutes a pebble?  Photographs are taken at regular intervals to measure the phenomenon of pebble sorting - the pebbles get gradually bigger - as you head from east to west along the 18 miles of pebbles beach from the almost-island which becomes gradually mainland potected by a line of WWII pill boxes.  Piddock fossils are examined for the same phenomena but refuse absolute categorisation.  Weather Station - a giant inflatable ball - is co-opted as part of a commission for B-side festival to audio record constant change on this coastline.  Will the protective bubble completely deny what lies outside?  

  • 'Para(meter)' (2016)

    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.
  • 'Parameter Transcript' (2018)

    '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)

    '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)

    '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)

    '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)

    '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)

    '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)

    '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)

    '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.

we are moving

Lower High Street Archive Project residency (collaboration with William Lindley), exhibition, artists book and symposium, commissioned by MEANTIME project space and supported by the University of Gloucestershire, exploring constant change on Cheltenham's Lower High Street through the lens of a Modernist building in the process of demolition.  Drawings of historic buildings (previously destroyed to make way for the present building) were projected onto minimalist structures (studio reconstructions of the buildings (d)evolving facades); referencing an (un)realised Utopia and questioning the realities promised by the new development.

  • tarpaulin and hoarding projection (2015)

    tarpaulin and hoarding projection (2015) photograph (by Elaine Fisher) of studio projection. Drawings on transparency film (by William Lindley) are projected onto an improvised building site hoarding made of wood and dust sheets (by Elaine Fisher)
  • light box assemblage I (2016)

    light box assemblage I (2016) photographic transparency assemblage taped onto clear acrylic with black paper surround in A4 wood box with LED light. A recreation of studio projection (transparency images on overhead projector) as a light box for 'We are Moving' exhibition, The Wilson, Cheltenham (2016)
  • 'reside(nt) hoard(ing) construct(ion)' (2016)

    'reside(nt) hoard(ing) construct(ion)' (2016) 5 vitrines (dimensions variable): A4 and A3 MDF boxes with perspex, LEDs, transparency images, tape and paper. Image shows installation of five vitrines at The Wilson, Cheltenham as part of 'We are Moving' exhibition and symposium.
  • 'studio projection' (2015)

    'studio projection' (2015) studio photograph of drawings (by William Lindley) on transparency film projected onto 'Jenga' object assemblage (by Elaine Fisher). This image was included in the artists book 'we are moving'(2016)
  • 'We are Moving' (2016)

    'We are Moving' (2016) hand-bound artist's book (A5) produced as part of 'We are moving exhibition and symposium at The Wilson, Cheltenham
  • 'overhead projection' (2015)

    'overhead projection' (2015) photograph of studio wall projection. Drawings (by William Lindley) and object arrangement (by Elaine Fisher) on an overhead projector. The title refers to the loss of an overhead projection from a building to be demolished that acted as a community gathering space
  • 'one door closing' (2015)

    'one door closing' (2015) still from video of the projection of drawings (by William Lindley) onto wooden board arrangement (by Elaine Fisher) activated by the opening and closing of a door - when light is omitted from the room the image appears

Elaine's Curated Collection

This artist has not yet created a curated collection.