BEVERLY FISHMAN

Fishman’s research has long centred on humanity’s relationship with the medical-industrial complex. Deftly subverting Big Pharma’s visual lexicon, her work replaces chemical promises with a glowing, postmodern proposition for aesthetic transcendence.

Fishman’s collages offer intimate windows into her search for deeper meaning within the sensorial union of colour and form, as well as her formal examination of the shapes and hues of pharmaceutical pill capsules, and her thoughts about how people take multiple pills, or parts of pills, per day.

‘It’s crazy the way people mix up pills, especially in nursing homes,’ Fishman points out. ‘But when a patient who should probably not be on the group of pills they’re on already, then has to add a pill, it’s very hard to take them off all their medication, because the side effects would be too hard to handle. So they’re tweaking, looking for the right balance.’

Fishman does the same with her collages, tweaking the colours and forms, looking for the right balance.

‘The collages are my way of getting down colour possibilities and qualities of potential light that I want to come through in the finished “Pill Reliefs”,’ Fishman says. ‘One hundred percent, I’m looking for a sensation from these colours. I want the relief to have a presence, you know?’

The final ‘Pill Reliefs’ need a high-quality finish to mimic the fabrication of the pills. Conceptually they cannot look handmade or show brush marks. The collages, on the other hand, rejoice in their handmade, hand-cut materiality.

‘They have become something on their own,’ Fishman says. ‘The colour is sometimes very odd, because I can’t imagine the relationships unless I make the collage. If I want to shift a coloured line around, I literally have to tediously remake the composition as a separate collage. I don’t work on the computer. I do it by hand and stand in front of the collage and look at it. I need the different versions for comparison.’

As with the final ‘Pill Reliefs’, Fishman’s collages possess a range of finishes, from shiny to matte. ‘I use all types of papers, from art stores, design stores, hardware stores, along with vinyl, cardboard, fabric, whatever,’ Fishman explains. ‘I like the materiality of colour as something physical.’

The hard part is predicting how the colour relationships will change when translated into large-scale sculpture.

‘There are always surprises,’ Fishman says. ‘A sheer amount of a certain colour shifts radically when it gets enlarged. But I love the surprise, even though sometimes the result is horrible, and it has to be repainted.’

Fishman’s collages carry a simple message for Big Pharma, especially in the time of COVID-19, as billions of us wait on salvation.

‘Almost everyone in the world would take anything if they thought it would save their lives,’ Fishman says. ‘Unfortunately, a lot of people die that way. We have to test things properly. That’s what this exercise is about.’