Beth Fisher RSA's practice has always been figurative, even at the height of the abstract expressionist dialogue with minimalism in the late 1960s.
In looking for models, she has always been concerned to explore issues of female identity. The process of drawing has always been her connection to the world, the way she has made sense of things. After years of teaching and drawing she is unenthusiastic about arguments over postmodern relativity of value and whether drawing is still legitimate. Drawing is her vocation.
Fisher is interested in the body, in interpretation of the body in the sense of individualisation and the connection to feeling. Although her work is rooted in historical precedents, it is not art history as such that interests her, so much as where art, historical or not, nears the edge of something and becomes revelatory.
