Fisher’s work deconstructs our industrialized world. Her paintings: candy colored landscapes driven by perspective, strive to alter ones perception of space. To bring the viewer, if for only momentarily, into a world where gravity is suspended, and elements float effortlessly.

Both the midwest and city are obvious influences in Kegan’s work. Sprawling land, dead end roads, and afternoon thunderstorms butt against urban development, false light, and grid patterned street blocks. Underlying all is a perpetual, and ongoing loneliness.

Fisher implores the viewer to acknowledge the power of land against technology, and the notion that design of a fully automated system has no need for its creator.

Her paintings are playgrounds of factory, mass production, and machine. Worlds void of people, where skyscrapers plummet through highways, sewage runs through midwest fields, and then end of the world begins in Spring.

Though rigid in technique, their is underlying fluidity throughout Fisher’s work. Her use of gradient color blocks, strong vantage point, and directional form lead the viewer in, and throughout, their world.