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Bill Fisher '85 Gallery

The Fearful Prey: Serigraph, Monotype, 6" x 5" As The Twig Is Bent: “Taking an early 20th-century "Evolution of the Face" diagram, I have substituted my own face as an example of Modern Man and placed the marble visage of Apollo as the ideal at which the branch terminates. The Sun God is cold, lifeless, a white dwarf. A static ideal, meaningless, petrified stone.” Monotype, 30" x 22", 1998 YARD SIGN 4: “Red, white and blue signs, approximately 1.5' x 2', are to be placed in front yards and other public locations. They are designed to resemble the ubiquitous yard signs printed commercially and posted in front of homes and businesses throughout the southern USA. Re-elect makes explicit the merging of secular and religious iconography implied by the rhetoric of our political leaders.” Digital Print on Tyvek, Wooden Stakes, 18" x 24", 2004 S.M.I.L.E.: Serigraph, 14" x 20", 2005 Nice: Serigraph, Digital Print, 15" x 20", 2005 Public Fliers: “Many of the pieces on my website may be downloaded as high-resolution images for your own use. While some of the work is specific in the subject of its critique or functions pointedly as propaganda, it is intended ideally as a platform for discussion, debate, and interaction, and provides questions rather than posing solutions.” Digital and Xerographic Prints, 11" x 8.5", 2009 No Hate Crimes (Reported): “Information is communicated through the conflict of emotions these signs elicit: as we feel relief or civic pride over a (seemingly) long period of time without a local hate crime, we are at the same time reminded of an unpleasant truth, in this case the knowledge that the denial of basic civil and human rights exists right here and vicious acts of destruction are perpetrated close to home.” Digital prints, acetate, MDF, 4’x 6' each. 2010.