‘Repartea’ is a dinner-party installation (opening 16 January 2022) 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 the Domestic Structures sculpture series.  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!

The 'Repartea' installation will include work from the complete Domestic Structures series (see also 'Domestic Structures'). The work samples included here were made during 2021

IRL solo exhibition at '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.

IRL solo 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. 

'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!

 @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.

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.  

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.

'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.

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.  

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?