Stacy Fisher 

Return to Artist List

 

 

 

What is my work about?

My work is about collecting and displaying, examining and dusting off.  It is a reflection of my environment, a study of gesture and how objects come to rest and relate to each other, and us.  My sculptures are never a direct portrait of anyone or anything but are intended to be familiar.  Made out of basic materials from building supply stores and bargain shops, they have a monumental quality that seems slightly out of place.  I often think of my sculptures as figures on a stage.  Not acting, but waiting in place.  I like to play up their anthropomorphic qualities by showing them in groups or isolating them intentionally.

 

Artist Statement

Referencing tools, torsos, and other familiar things, I want my work to feel natural while remaining somewhat strange.

I have an ongoing interest in controlling the viewing space of sculpture. This has led to grouping pieces together and making customized pedestals that more resemble boxes, benches, shelves, or game boards. This idea of a home base allows me to turn the spotlight on the basic elements of each sculpture and how they are positioned, which is tied into their formal and personal content. A heavy sculpture leans against a wall to remain upright; a lighter one is flattened to fit on a shelf. A group of similarly patterned objects includes one that doesnʼt belong; another group appears to be a complete set. I believe that looking at the work in this way allows for associations with communities and objects that engage the viewer beyond what is seen.

I have been exploring how materials, color, and finish can categorize an object. The materials I use, including paint, mostly come from building supply stores. I like that they are readily available and used in skilled trades for various purposes. I feel it connects my work to the rest of the world and the activities that take place in it. Whether or not I paint my objects is a direct result of the sculpture/pedestal relationship. I may want the sculpture to mimic the base, either through patterning or repeating shapes. Sometimes I like to blur the edges, other times I want to define them.

 

CV

Education

1995-1997

The Ohio State University, Sculpture BFA

1997

The University of Central England, Sculpture, studied abroad

1992-1995

The Cleveland Institute of Art, Sculpture

 

Two-Person Exhibitions

2013

Allison Miller : Stacy Fisher, Weekend, Los Angeles, CA

2012

The Study: Michael Byron and Stacy Fisher, Regina Rex, Queens, NY

2011

Stacy Fisher / Gary Panter, Cleopatra’s, Brooklyn, NY

 

Group Exhibitions

2014

Shapeshifters, Plug Projects, Kansas City, MO

Redacted, Islip Art Museum, East Islip, NY

2013

Futurecast, Artspace, New Haven, CT

Leslie Baum, Stacy Fisher, Matt Miller, BravinLee Programs, New York, NY

Thanks, Lu Magnus, New York, NY

Transposed Planes, LVL3 Gallery, Chicago, IL

Ivory Tower, FJORD, Philadelphia, PA

Tectonic Drift, Brian Morris Gallery, New York, NY

2012

Drift, Beta Pictoris Gallery, Birmingham, AL

Pig Party, New York City, New York, NY

Primary, Nudashank, Baltimore, MD

Up Do, Jeff Bailey Gallery, New York, NY

Grid List, Allegra LaViola Gallery, New York, NY

Intramurals, AFA Gallery, Scranton, PA

Abstract Realities, The Art Studios of Key West, Key West, FL

Tops, Open Space, Long Island City, NY

Grid List, Center Galleries at College for Creative Studies, Detroit, MI

2011

Southern Cross, Grizzly Grizzly, Philadelphia, PA

Functional Shift, Mixed Greens, New York, NY

Norfolk, Thierry Goldberg Projects, New York, NY

Monkey Wrench, Horton Gallery, New York, NY

Art Book Club Presents, St. Cecilia’s, Brooklyn, NY

Control Alt Delete, HKJB, Brooklyn, NY

Gold Records, Daily Operation, New York, NY

The Shape of Things to Come, Nudashank, Baltimore, MD

Anomalistic Urge, Vaudeville Park, Brooklyn, NY

The Working Title, Bronx River Art Center, Bronx, NY

2010

Shop at Tide Pool, Sara Meltzer Gallery, New York, NY

That Damn Box Show, Detroit Artists Marketplace, Detroit, MI

Two Sheets Eight Pages, Possible Projects, Brooklyn, NY

Worldʼs Greatest, Daily Operation, Brooklyn, NY

Anti-Anti, Hal Bromm Gallery, New York, NY

Soft and Loud, Daily Operation, Brooklyn, NY

In Williamsburg, Fleetwing Gallery, Brooklyn, NY

2009

Giftland X: Happy House, Printed Matter, New York, NY

Whatʼs Bin Did and Whatʼs Bin Hid, 106 Green, Brooklyn, NY

2008

The Object Direct, Heskin Contemporary, New York, NY

The Grey House That Thinks Itself Into Your Head Without Asking, Pace University, New York, NY

The Object Direct, Mississippi State University, MI

Grandma, Brooklyn Fire Proof, Brooklyn, NY

The Longest Day, McCarren Park, Brooklyn NY

2007

Out of Time, Payne Gallery, Moravian College, PA

The Magical Mundane, Bucket Rider, Chicago, IL

2006

The Idea of Death Is Tormenting Me, Brooklyn Fire Proof, Brooklyn NY

2005

Off My Biscuit, Destroy Your District!, Samson Projects, Boston, MA

2004

Two by Four, P.S. 122, New York, NY

Laying Doggo, Brooklyn Fire Proof, Brooklyn, NY

Up and Off the Wall, D.U.M.B.O. Arts Center, Brooklyn, NY

2003

Not Exactly, Delta Axis, Memphis, TN

 

Press and Publications:

De La Hoz, Ryan. “Stacy Fisherʼs Burlap Sculptures”. Beautiful Decay. December 17, 2012.

Kalm, James. “Michael Byron and Stacy Fisher: The Studio at Regina Rex”. Artreview. December 6, 2012.

Weiner, Emily. “Criticsʼ picks: Michael Byron and Stacy Fisher”. Artforum. November 13, 2012

“Artist of the Week: Stacy Fisher”. LVL3. April 16, 2012.

Bussmann, Jeffrey. “Southern Cross”. Title Magazine. Dec. 15, 2011.

“In Conversation: Kris Scheifele Interviews Stacy Fisher”. NY Arts Magazine. Summer 2011.

Smith, Matthew. “The Shape of Things to Come”. New American Paintings. May 5, 2011.

Maine, Stephen. “Variety Trumps Argument at the Bronx River Arts Center”. Art Critical. April 23, 2011.

Indrisek, Scott. “The Agenda: Stacy Fisher and Gary Panter at Cleopatra’s”. Art Info. March 16, 2011.

Possible Press, Volume 2 Issue 1. A quarterly publication of artists’ writings. February 15 2011.

Asper, Colleen. “The Idea of Death is Tormenting Me”, Beautiful Decay, Issue O, May 2006.

Maine, Stephen. “Dateline Brooklyn: Laying Doggo.” Artnet. August 19, 2004.

Koeppel, Fredric. “Not Exactly, An Edgy Show for Rough Space”, The Commercial Appeal, Memphis,

September 21, 2003, p. G21.

 

Honors and Awards:

2011 Visual Artist Fellowship, The Edward F. Albee Foundation

2002 Vermont Studio Center fellowship

1994 Chautauqua School of Art fellowship