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  • JarredFisher
  • Joined: Mon Jun 06, 2016 11:20 am
  • Last visited: Mon Jan 30, 2017 12:56 pm
  • Member Type: Artist/Photographer
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  • My Real Name Jarred Fisher
  • Location: Wilmington, DE
  • Age: 33
  • Occupation: Artist/Painter
  • Interests: N/A
  • About Me: Based in Wilmington, DE, contemporary realist artist Jarred Fisher invites his viewers to celebrate the profundity of nature. Fisher says, “Nature is the single greatest teacher in Art.” When composing a painting or drawing, Fisher explains that he is embarking on a journey to humble himself before the magnitude of reality; of nature. Eschewing the use of photographic implements, Fisher works primarily from direct observation, engaging with and learning from nature. He is in search of a profound celebration of our reality; one, he says, “that builds upon the last six-hundred years of Art and doesn’t simply throw out all that came before in vain attempts at novelty.”

    After graduating from Delaware College of Art and Design in 2007, where he studied under Catherine Drabkin, Paul Hluchan, and Elana Hagler, Fisher spent the next five years struggling to create work with the depth of purpose he sought. Moved by the works of many of the 19th century baroque painters, Fisher sought out to acquire deeper technical skills and more rigorous academic instruction. After reading a magazine interview with noted master artist Nelson Shanks, Fisher set out to further his training at Shank’s Philadelphia atelier, Studio Incamminati, beginning in 2012. There he trained under living masters such as Dan Thompson, Jon DeMartin, Darren Kingsley, Stephen Early, Lea Colie Wight, and Kerry Dunn.

    Fisher declares that while his materials and methods are classical, his vision is very much contemporary. Whether painting things as seemingly unassuming as trash or expressing the grandeur of the human form, Fisher hopes that viewers can create their own narratives and in turn become assimilated into the world of his piece. “I don’t ever want to push too much story onto the viewer,” he explains; “I try and respond to the abstract beauty of the composition, and allow the viewer to have some say in the narrative. I feel this creates a dialogue between the viewer and the work and eventually between the viewer and myself. This is what I get to take back from creation. Each of their manufactured narratives becomes part of me. What does a crushed up can mean to you? What does a reclining nude mean to your friend? The answer is as different as we are and I find this symbiosis to be a very rewarding way to create.”

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