Interview with Doug Fisher by Adam P. Kennedy
Where were you born and raised?
I was born and raised in Port Arthur (now called Thunder Bay), Ontario, Canada.
Where are you living now?
I am currently living in Parksville (on the east coast of Vancouver Island), British
Columbia, Canada.
Did you have role models? Was there someone or something that inspired you?
My first creative inspiration came from my mother who was always painting, drawing or playing the piano and who was always so encouraging for me to try new things. She is the first person who told me that I could do whatever I wanted to in life and not to be constrained by convention. Another strong influence during my childhood was my friend (a native boy) whose family lived off the reservation and who daily had to deal with adversity from white children. He was a small boy but very strong in spirit.
Artistic influences came later from renowned Canadian photographer Freeman Patterson who taught me to see extra-ordinary things in the ordinary, and from Harris Smith (a well known native artist who passed away in 2005). Harris and I collaborated on hundreds of pieces together over a seven year span.
Did you take a lot of classes?
I am a self taught woodturner.
What types of wood do you like to work with? Does the wood have to be dried prior to working with it?
I mostly use big leaf maple due to its abundance on Vancouver Island. I buy whole logs and get them milled at a local sawmill. The slabs are then air dried for about a year before I use them.
Are your pieces turned or carved wood?
My pieces are initially turned on a wood lathe to achieve the basic form and then the imagery and designs are carved in using various rotary carvers and hand gouges.
How do you achieve all of the wonderful coloration's in the wood?
I use lightfast wood dyes to achieve the color in my pieces. Initially they are brushed on followed by several coats of airbrushed layers to create another sense of depth.
Are your pieces considered "Functional Art"?
My current work would not be considered as "Functional Art", although there is nothing stopping someone from throwing a bunch of bananas into one of my bowls.
How do you achieve the unique carving and juxtaposition of lines and surface as in "Tales of Spring"?
The unique carving and juxtaposition of lines and surfaces in my work is achieved through a series of turning a part of the piece on the lathe and then taking it off, remounting it in a different position and then turning it again. Most of my pieces are remounted in this way from four to six times.
How do you balance the business end of with the creative?
I used to do a lot of art and craft fairs when first starting out but now sell strictly through galleries that represent me. I find I can be much more creative when I do not have to be spending a lot of time applying to shows, making travel arrangements, packing up displays, and all the other little things that are on ones mind when going on the road. I have a wonderful relationship with my galleries which frees me up to do what I do best and to let them do what they do best.
Who are some of your favorite woodworkers, either current or deceased?
There are so many wood artists whose work I admire; here are only some of my favorites: David Ellsworth, Jacques Vesery, Binh Pho, Bill Luce, Michael Lee, Norm Sartorius, Hans Weissflog.
What advice would you give to young artists?
My advice to young artists would be to create something unique. Find your own voice and apply it to your art.
Do you think that today’s preteens, teens are exposed enough to the world of art?
Not being a parent I cannot speak to the question of whether young people are exposed enough to the world of art, however I will say that on a recent trip to France I was amazed at how many groups of French school children I saw on field trips to historical sites and art museums. Something I do not see a lot of in North America.