Matthew F Fisher (B. 1976, Boston, MA) is an artist living and working in New York. He will have a physical solo exhibition with Taymour Grahne Projects in March 2022.
Matthew's works are included in public and corporate collections, such as the New York City Department of Eduction - Public Art for Public Schools, Fidelity Investments (Boston, MA); the Pennsylvania Academy of Fine Arts (Philadelphia, PA) and Dogfish Brewery (Milton, DE) collections.
He has shown nationally and internationally, with solo exhibitions at Ochi Projects (LA); SHRINE (New York, NY); Taymour Grahne Projects (London); Johansson Projects (Oakland, CA); Over Under Room (Brooklyn, NY); and Taymour Grahne Gallery (New York, NY) among others. His work has been included in exhibitions at the SEASON (Seattle, WA); Colombus State University (Columbus, GA); The Hole (New York, NY); Rowe Gallery (St Augustin, FL); and international venues including the Dot Project (London) and Groeflin Maag Galerie (Basel, Switzerland).
He is a recipient of the Pollock Kranser Foundation grant, the painting fellowship from the New York Foundation for the Arts and a full fellowship from the Vermont Studio Center (Johnson, VT). Matthew received a BFA from Columbus College of Art and Design (1998) and an MFA from Virginia Commonwealth University (2000). He has completed one artist residency in Pasaquan (Buena Vista, GA) and two in Yaddo (Saratoga Springs, NY). He also participated at the Millay Colony for the Arts taking place in Austerlitz, NY.
''Matthew F Fisher’s crystalline imagery seems far removed from his avowed inspiration, the 1940s pictographs of Adolph Gottlieb, but this connection requires us to look beyond stylistic affinities and attend to the paintings’ dispositions, their manner of addressing both the viewer and the world. These painters isolate and integrate elements that they load with impenetrable yet urgent meaning, resulting in a paeon to meaning itself, not a rebus that can be decoded and thence dispensed with, but a case study of the mythological reverberations of objects near and far, concrete and intangible.
Fisher’s paintings face the viewer, the history and culture of painting, and its critical problems, perhaps in the way that Edouard Manet’s do, as theorized by Michael Fried and expanded by Thierry de Duve. This facing is related to Clement Greenberg’s often-oversimplified flatness. Certainly, Gottlieb also lines up his pictographs with a blunt plea of facing-ness and address. Fisher in turn allegorizes, in a way memorializes Gottlieb’s action by setting it within a deep space that is itself a code for painting’s historical pursuit of perfection—a pursuit that is as poignant as it is futile.''
- Vittorio Colaizzi