Project Description

Artist Profile

Cory
Fisher

Born 1987, New Orleans, LA

Cory Fisher - Rough Cut Press

Artist Profile

Cory
Fisher

Born 1987, New Orleans, LA

The world we call our own is a passing one. Where we are and what we are is the constant reinvention of itself. Our creative desire is the inconceivability of eternity.

I am a visual artist based in Los Angeles; I explore the synthesis of geometric shape and subtle illusionistic space using acrylic and spray paint on canvas stretched on board.

Drawing inspiration from digital art, hard-edge geometric abstraction, and the emotionality of underground vaporwave and house music, I explore and deconstruct the inconsistency of balance, the unity of opposites, the ephemerality of meaning; nostalgia, and the essence of space with a unique use of composition and layering.

You can see more of my work here.

website

6.1.19

Asymptotic Futures no. 1

8.1.19

9.1.19

ultraviolet laser

Cory’s Art

Stop and Go by Cory Fisher and Sara Pacelko - Rough Cut Press
You’re looking at an ultraviolet laser shining through thick printed glass, onto a board covered with phosphorescent pigment. This pigment super-charges the glow and prints the image onto the board, temporarily. A friend and I found out how to do this when we were playing with lasers one night. It’s fun, interesting, weird and random—an exploration into the tiny, beautiful, hidden structures you can find when you’re looking.
issue 4
Syntax - Cory Fisher - Rough Cut Press

Syntax

We experience so much we don’t have words for.

I was laying down when I “wrote” this—journaling, scribbling, doodling, drawing, and it felt nice; it felt as if, somehow, I was transcribing little pieces of my environment into a different shape—a complete story, all at once.

We have, so far, built a world where our unique gifts are stifled in the name of progress, success, and personality; a world where we feel alienated, confused, and oppressed.  And so I think, perhaps that is what Art is for—an excursion beyond our limitations, beyond the domains of learned language, to broaden the scope of what we can share.

So, I have been writing these poems in a spontaneous language. They happen automatically, and they surprise me as much as they may surprise you.

I learn from them.

Here, language isn’t forced into being. Marks are free and direct.

Here, language is immediate; a dance. What is read is no longer “heard,”  but beheld.

Then, we are left with artifacts of expression and attempts to articulate an ever-deepening sensitivity to the unfolding infinity of our being.

Scroll up.

What do you see?

issue 3
Asymptotic Futures no. 1 - Cory Fisher - Rough Cut Press

Asymptotic Futures no. 1

issue 1

Cory’s Art

Stop and Go by Cory Fisher and Sara Pacelko - Rough Cut Press
You’re looking at an ultraviolet laser shining through thick printed glass, onto a board covered with phosphorescent pigment. This pigment super-charges the glow and prints the image onto the board, temporarily. A friend and I found out how to do this when we were playing with lasers one night. It’s fun, interesting, weird and random—an exploration into the tiny, beautiful, hidden structures you can find when you’re looking.
issue 4
Syntax - Cory Fisher - Rough Cut Press

Syntax

We experience so much we don’t have words for.

I was laying down when I “wrote” this—journaling, scribbling, doodling, drawing, and it felt nice; it felt as if, somehow, I was transcribing little pieces of my environment into a different shape—a complete story, all at once.

We have, so far, built a world where our unique gifts are stifled in the name of progress, success, and personality; a world where we feel alienated, confused, and oppressed.  And so I think, perhaps that is what Art is for—an excursion beyond our limitations, beyond the domains of learned language, to broaden the scope of what we can share.

So, I have been writing these poems in a spontaneous language. They happen automatically, and they surprise me as much as they may surprise you.

I learn from them.

Here, language isn’t forced into being. Marks are free and direct.

Here, language is immediate; a dance. What is read is no longer “heard,”  but beheld.

Then, we are left with artifacts of expression and attempts to articulate an ever-deepening sensitivity to the unfolding infinity of our being.

Scroll up.

What do you see?

issue 3
Asymptotic Futures no. 1 - Cory Fisher - Rough Cut Press

Asymptotic Futures no. 1

issue 1

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