BIO

Dean Fisher is a painter and draughtsman with over thirty-five years of experience and has exhibited extensively throughout the U.S. in prominent galleries, such as; Hirschl and Adler Modern, NYC; J. Cacciola Gallery, NYC; George Billis Gallery, NYC and LA; Prographica Gallery in Seattle; Byron Roche Gallery in Chicago; Jonathan Cooper Gallery, London UK; and Tregony Gallery, Tregony Cornwall, UK.; Susan Calloway Fine Art, Washington DC; Figure/ Ground Gallery in Seattle, and Sugar Lift Gallery, NYC.

He is the recipient of the Elizabeth Greenshields Foundation grant and numerous awards for his paintings and drawings. He spent eight years in Spain, France, and England copying masterworks in major European museums, as a form of study, while simultaneously developing his own work.
Dean has taught painting at Silvermine Art Center in Connecticut since 2000 and he taught landscape painting near Pienza in Tuscany, Italy, through Julia Ingersol Retreats in the Spring of 2019. Dean runs landscape painting courses each Autumn in the Dordogne Valley in the SW of France.

His paintings and drawings can be found in many private and corporate collections throughout North America and Europe.
Dean and his wife, the artist Josephine Robinson, live in Milford, Connecticut.

ARTIST STATEMENT

My paintings respond to our surrounding physical and sensual world, such as how light and air reveal form, color, and texture. The quality of the tracks of the brush through the paint conveys the excitement and joy of intense looking.

I strive to organize my visual perceptions of these qualities into a cohesive and compelling structure. This composition and painting’s surface are where the artwork’s expressive potential lies, which in my opinion, transcends subject matter and the narrative.

I would never want to conceal from the viewer that my paintings are handmade and are essentially blobs, patches, and strokes of paint, which coalesce to represent an illusion of form and space.

I would like the picture to appear as if it were still in the process of being painted, thus inviting the viewer to participate in the act of painting and simultaneously allow their mind’s eye to complete the image. 

Ideally, I’m hopeful that my paintings reveal some facets of the extraordinary richness, mystery, and beauty surrounding us, a visual tapestry which continuously brings me back to the easel.