Jacob M Fisher is an American installation artist living and working in New York City. Primarily working with string & light, Fisher’s work crosses numerous disciplines. From architecture and digital media, to sculpture, Fisher has pushed the boundaries of the way string and light can be used and transformed to create distinct forms, structures and environments. Through the combination of string and digital projections, the work finds a unique aesthetic balanced between organic and synthetic. He is currently showing at SHOWFIELDS Bond Street location.

Tell us a little bit about yourself and your practice:

I studied studio art under pioneering installation artist, Judy Pfaff at Bard College, where I began working in sculpture. Soon, Judy steered me towards installation, and from there I started working with string and everyday objects. After Bard, I refined my practice and my materials, until a trip to Tokyo, Japan, where I saw a TeamLab projection mapping installation. As soon as I got home I bought a projector, and almost by accident, string and projections met.

My work allows me to escape the everyday through reflection. Having a process that is highly repetitive, almost obsessive, creates an environment of introspection, an escape from reality. I want to offer those same mental states to my audience. Through art, I can inspire emotion, offer calm or provoke introspection.

What kind of artwork is relevant to our generation and the times we are living?
Our generation wants art that is interactive, accessible, and experience-driven. That type of experiential art stems from technological and cultural shifts. It is temporal and shared. The audience is part of the art. And, it almost always has a lower barrier to entry than traditional art – art you can take home and put up in your house.

Sharing art experiences can create an environment of empathy and unity. The artist who uses their artistic medium as an expression of emotion, is also having a conversation with the audience. The audience can change the art, walking, touching, interacting with it and so the work continues to develop even after the artist touches it.

Tell us about this show for SHOWFIELDS: conceptually, aesthetically, etc.?

I always say that I started my art career backwards. Installation art is usually something that fine artists pursue after a life in more traditional mediums – painting, sculpture, digital media. Likewise, commercial art commissions seldom precede gallery and museum notoriety. But I got my start making installation art in commercial settings. I realized that art was seeping into our daily lives, and commercial channels would be the best to help me reach as many people as possible (not just the collectors).

By merging retail with art experiences, Showfields is paving the way for a new type of space. Where art galleries and retail stores have sagged, spaces that do both can multiply their reach. It’s this convergence, between art and retail, that really drew me to Showfields in the first place.

What is your advice for art lovers, supporters, collectors and appreciators?

For patrons of the arts, I encourage you to continue to leave room for art. Life has many real and pressing worries, and we each need a space and time to process those. Art, like dreams or memories, allows us to process emotions in a safe mental space.

Give art your awareness. Wherever you don’t find meaning, look for emotion. Art is a powerful tool for quaking out cultural shifts. Though art is representational, it can be a tool for empathy, unity, and awareness. Try to find measures of those when you view, experience, or purchase art.

"COLOR STUDY#004" // 23" x 31" x 1.5"


"WHAT WAS LEFT#009" // 48" x 24" x 1"


"WHAT WAS LEFT: #008" // 36'' x 37'' x 1''


"COLOR STUDY: #003" // 24'' x 26'' x 1.5''


"COLOR STUDY: #005" // 24'' x 26'' x 1.5''