Barbara Fisher was born in New York City, educated in Colorado and California, and lived for many years on the West coast before settling in Asheville, North Carolina in 1998. Her work has been exhibited in solo shows throughout the country, including the de Saisset Museum (CA), Bank of America World Headquarters (CA), The National Institutes of Health (MD) and The Washington Cancer Center (DC) as well as in many galleries. Her paintings have hung in group shows at the Asheville Art Museum (NC), the Alexandria Museum of Art (LA), the Sun City Museum of Art (AZ), the Chicago Cultural Center (IL), Highlands Museum of the Arts (FL), Hickory Museum of Art (NC), and the Mobile Museum of Art (AL).
Fisher has received numerous grants and residencies including the Mortimer Fleishhacker Foundation Grant (CA), Asheville Arts Council Project Grant (NC), the Ucross Foundation (WY), and the Ragdale Foundation. Her work can be found in the collections of Capital One (VA), Western NC University Art Museum (NC), the Asheville Art Museum (NC), First Charter Bank (NC), Bank of America (CA), National Institutes of Health (MD), University of NC Hospitals (NC), Mission Hospital (NC), the Coweta County Public Library (GA), the Electrolux Corporation (NC) and the Foundation for the Carolinas (NC). In 2019, Fisher was awarded a Pollock-Krasner Grant in the amount of $17,000.
Transforming interior states into a visual language is what drives me as an artist. To quote Carl Jung, “In all chaos there is a cosmos, in all disorder a secret order”. I am willing to embrace chaos, in the hopes of finding/creating that secret order.
Each painting hints at a narrative based on the way I envision energy, ideas, matter, psychic states, memories and other elements interacting. A blue atmospheric corner may represent a safe haven; a dark corner, a danger zone. A shape may be trying to reach or move through an area, encountering visual and/or psychic roadblocks; an image might disintegrate and be transformed into something new. These encounters might be happening inside a brain, inside a supercollider, or under a microscope; there is no definitive interpretation.
The process becomes a part of the narrative. The wood surfaces are sanded, drawn on, painted over, wiped off and otherwise distressed as one thought or story or gives way to the next. The work is a visual investigation, a continual inquiry into the way things work, filtered through my eyes, mind and subconscious.
Tangled Mapping series
The Tangled Mapping paintings are complex but contemplative, chaotic but orderly, light and airy though layered. The images bring to mind aerial, city or transit maps. They can also be seen as tangled thoughts, the brain's mysterious circuitry, or the skeleton/internal forms of some forgotten species. The process is intuitive and thoughtful, combining a zen approach with a studied sense of composition and color. They can be calming or exciting, depending on the projection of the viewer.
Tiny Universes series
The Tiny Universes series are acrylic and ink on Yupo (synthetic “paper” made of polypropylene). They depict small moments in time with playful organic forms and dynamic lines, often in conflict with each other, or having a conversation.