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Work Samples

Exchange Berlin.jpg

two monitors on the upper and lower rungs of a ladder show reduced, slow-motion video works of a falling leaf and crow in flight
Elaine Fisher (2018) Spirit Lake / Kirk Wall (right: group installation view) “Reduced video works of a falling leaf and a crow in flight presented on two monitors on an upper and a lower level, a conscious and a subconscious level, draw the viewer into the dream…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.chasedma

Did you meet her.jpg

photographic and wood works: architectural elements 'cut out', highlighted as the background is removed
Elaine Fisher (2018) 'Did you meet her? (D’m’t-er?)' 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.

Parameter.jpg

six lathe cut 12” transparent vinyls with cyanotype printed covers on a turntable of European sea crates
Elaine Fisher (2016) 'Para(meter)' “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

We are moving.jpg

drawings projected onto studio reconstructions of a building site's devolving facade
Elaine Fisher & William Lindley (2015/16) Reside(nt) hoard(ing) construct(ions) joint residency at Meantime Project Space (UK) 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 were projected onto minimalist structures referencing an unrealised utopia and questioning the realities promised by a new development

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About Elaine

Baltimore City

Elaine Fisher's picture
As I encounter the world, ordinarily, each day, I collect objects and images that I am unconsciously drawn to, removing them from their dominant contexts and into the studio for investigation.  Here I play, explore, take apart and re-make, transforming certain objects into uncertain assemblages, finding in relation, fresh perspectives on the human condition. I studied Archaeology as an undergraduate and have since been fascinated by a particular time in the Neolithic when our culture and... more

working title: Diamond Od(d)yssey

An investigation into the diamond as both form and symbol reveals its peculiar mode of activity: one that leads to growth beyond the idea of a fixed centre and in which new spaces support a release of tension enabling softer, more adapatable forms.

  • 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.
    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 an interior metaphor responding to the psyche at work, from quiet anticipation and intrigue through overwhelming clutter to guarded, obscured and closed.
  • Groundworks (2019)

    four modular floor tiles are transformed and rejoined
    a modular floor tile is gradually transformed: cut, separated and re-joined with French knitting. Each stage of the process is documented, red lines suggesting what the next move might be and/or highlighting the transformative act that has passed
  • Groundworks (2019)

    reaching its conclusion, the knitted tile not only holds together its two halves but also retrieves from beneath what had been lost in the process of making - the re-united form is elevated, on concrete supports
  • untitiled (painting and assemblage) (2019-2020)

    paiting (gesso, ink and acrylic on canvas with recycled yarn): a photograph taken through an expanded version of French Knitting (see Groundworks) is reproduced in print. whilst new (old) forms are found within, recycled yarn adds the possibility of renewed tension from outside / assemblage (lamp cages, childhood knitting doll, construction string, painted wood): a childhood knitting doll constructs a thick and strong rope, formed as it (now) rises from four points of diamond tension.
  • untitled (painting and assemblage) (2019-2020)

    painting (silk screen print on canvas wrapped wood with India ink and acrylic paint): a photograph taken through an expanded version of French Knitting (see Groundworks) is silk screen printed onto canvas using orange ink. as the print is gradually over-painted new (old) forms appear in relation, forming a new narrative held by new lines of tension / assemblage (plaster of Paris vessel and woodworking clamp on improvised shelf): pressure is applied to the chest of a small vessel by an object that also functions as its support.
  • untitled (painting and assemblage) (2019-2020)

    painting (silk screen print on canvass re-assembled on wood suppot): a photograph taken through an expanded version of French Knitting (see Groundworks) is silk screen printed (in two sizes) onto canvas using black ink on a pale turquoise background. cut up and re-assembled on a wood support, the holes of the knit appear as-if-objects floating in space / assemblage (woodworking off-cuts, sea shell, plastic framed mirror, plaster on wood): found objects are assembled on a shelf next to an impression in plaster of a string bag.
  • Black_Gold .jpg

    Black_Gold (2019) double sided ink drawing: as the lowest value in the plastic elements black is below, dark and solid. Here, by way of its liquidity, black passed through paper to emerge as gold, an earthly element we ascribe a different kind of value to. So the drawing ‘values’ darkness and matter – the feminine – whilst also taking as its subject the feminine connecting principle in the chain-link-fence.
  • Black_Gold.jpg

    Black_Gold (2019) double sided ink drawing: as the lowest value in the plastic elements black is below, dark and solid. Here, by way of its liquidity, black passed through paper to emerge as gold, an earthly element we ascribe a different kind of value to. So the drawing ‘values’ darkness and matter – the feminine – whilst also taking as its subject the feminine connecting principle in the chain-link-fence.

Creation Myths

The artists' canvas is co-opted as the neutral ground on which to explore the emergence of consciousness. Following the artistic process as it (re)cycles between preconcisous origin and conscious act in search of a new form, I find metaphors for our individual developmental mythologies - in the realised potential of a finished painting and in the interruption of a painting before its form is found.

Threshold (folded form, drawings, consolidated print)
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.

Assembly (painting series: Head_Land, Robin's Egg, Aphrodite's Mirror, Two Wings, I Crawl)
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.

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.

sites of (ex)change: ness -ness nest nestle net

Found pebbles are explored for meanings of erosion and becoming. A perfectly rounded egg-pebble nestles inside a mortar whilst a pair of knarled pebbles nestle together in the parting waves of a open dictionary. Word-play extends outwards from the title of the work - a string of words surrounding 'nestle' on a dictionary page that is aptly headded 'neurotic' - to a net containing a weight. Research notes are stacked, supporting underwater photographs of forms that mirror the nestling pebbles.

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.

sites of (ex)cange: tide table

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. Piddock fossils are examined for the same phenomena but refuse absolute categorisation. This particular walk ends with echoes from a firing range, perhaps a premonition of what is yet to come: Weather Station - a giant inflatable ball - is later co-opted in an attempt to audio record constant change. How will the recordings 'hear' the change in pebble size? By their duration or differing content? Or will the protective bubble completely deny what lies outside?

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.

sites of (ex)change: loophole

The relationship between a second world war 'look out' and its estuary view are explored through the interplay of concrete and light. 1:1 scale forms of the structure's window are cast in concrete (a negative version of the stucture's original casting) and light from within a concrete model is cast upon photographic paper. The resulting photograms are reconstructed in collage, each repetition taking the image further and further away from its source.

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.

Video and projection works

I make short video and projection pieces from footage and photographs I collect on impulse as I might collect an object. These works are related to specific projects but often sit slightly outside of them, 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, in their placement; and in reptition, within and between works, in the loop of presentation, of subject matter.

Connect with Elaine

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Elaine's Curated Collection

This artist has not yet created a curated collection.