March 19th - June 2nd, 2013
Closing reception June 2nd, 2-4pm.
unripened & out of season
The Graphic Universe of
Craig Fisher's commercial career spans over three decades as a graphic designer, art director and commercial illustrator. He has worked for Owens Corning Fiberglas, The Academy Group, Root Learning and most recently for Healthy Interactions Inc.(17 N. St Clair St) where he has honed his talent for conceptualizing in the Health Learning market.
Craig studied with local watercolor artist, Walter Chapman while still in high school. He studied under Diana Attie, Peter Elloine and John Botts as a fine art student at The University of Toledo. He credits the University and its teachers for his love for printmaking and a natural curiosity for the potential of line and form.
Craig currently lives in Sylvania Township with his wife Marian. His studio, Ibis Press, is in his home where he joins the traditional with the contemporary as he pushes the medium of intaglio etching into new directions.
Drawings is for me is a part of the iterative process that eventually leads to a future print. These studies can start as doodles or begin as complex pencils. They are transferred to the asphaltum covered copper plate and even then they are constantly mutating. I don’t give the initial drawing the respect it deserves, because for me the process is fluid and changing.
The foundation of my art is figurative. I take some inspiration from the works of printmakers such as Peter Milton and Eric Desmaziéres, Each artist in his own fashion discovered a way to merge the time-honored technique of intaglio with a contemporary vision unique to themselves. The etching technique as I practice it, has not changed from the time of Rembrandt. The etchings are carefully constructed and built up of fine-meshed patterns of hatching, cross-hatching, stippling and rosin dusted aquatints. There may be as many as 5 stages in the etching process. Occasionally I will employ mulberry papers colored by inkjet color (Epson Ultrachrome®) in Chine Collé (laminated tinted paper) as a means to color into the graphic.
My subject matter in my creations can vary. I’m fascinated by the tension between the mechanical and the organic. The organic subject matter is an exploration of the objects we don’t see but exist on a microscopic level. These can be pollen grains, insects, fossil remnants. These objects/creatures share spaces occupied by our everyday tools that may be familiar and yet, out of context. (springs, cogs, switches, turbines).
things the imply action or may hint of some impending motion. Some of the imagery can be metaphorical or just direct observations or studies.
Draftsmanship and the wonderful unpredictability of act of printmaking helps open new avenues to the creative process. What constitutes a “multiple” is still being challenged, and I expect be a part of that constantly moving target.