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) and the Chicago Cultural Center (IL).
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 (IL). 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) and the University of NC Hospitals (NC).
"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.
For years my artistic language consisted of iconic shapes and symbols, reduced to their simplest forms and interacting with each other, both formally and conceptually. I gradually began to break these elements up into pieces of images. Recently they have disintegrated further into fragments of thoughts, gestural marks, and scribbles – hovering in undefined, unrestrained atmospheric spaces.
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 definative 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 history of process and transformation evident in the finished paintings reminds the viewer of the inevitability of change and the impermanence inherent in all things. The work is a visual investigation, a continual inquiry into the way things work, filtered through my eyes, mind and subconscious."