Stacy Fisher’s work is perfectly imperfect. Playfully metaphysical, the artist’s subtle choices such as color, placement and relationship of each element to the next requires considerable contemplation, which is communicated to the viewer in every detail. Her sensitive, easy-going, abstract sculptures & drawings consider the interaction of the object to the floor or wall / the painted surface to the shape / the size, weight and position. These wobbly-looking pieces are inconspicuous and oddly familiar, like a toaster, a torso or a lamp. Built with a system of Hydrocal (a type of plaster), burlap, wire mesh, salvaged/donated house paint, and wood, Fisher has a fierce attention to detail and craftsmanship.
Having long been an avid drawer, Stacy starts each of her sculptures as a concept on paper, and uses the drawing as a guide, frequently referring to it throughout the course of production. While her works on paper appear simple and childlike, each divot and bump is recreated in the subsequent sculpture, and if done incorrectly, is redone until the piece is in balance, to meet the original vision. In this regard, her series of drawings, “What Would A Sculpture Do?” depict possible future incarnations of physical artworks. Inconspicuous and oddly familiar, Fisher’s work requires an open mind and expanse of time, to truly appreciate.
Stacy Fisher has exhibited widely in the U.S. including shows at Sara Metzler and Bravin Lee Programs, Jeff Bailey Gallery, Allegra LaViola and Horton (Manhattan), Regina Rex, Cleopatra’s, Outpost, (all Brooklyn), LVL3 (Chicago), Fleisher/Ollman and Grizzly Grizzly (both Philadelphia). Her work as been reviewed by Sharon Butler in Two Coats of Paint, Andrew Russeth in 16 Miles of String, as well as Beautiful Decay, Art Critical, Artforum.com, ArtReview.com. Stacy has attended the The Edward F. Albee Foundation and Vermont Studio Center fellowship and was recently nominated for a Rema Hort Mann fellowship.