CABIN FEVER
Fisher has also always been attentive to creating personas, at times assuming the guise of a dangerous, powerful femme fatale, at others of a sprite or nymph. She’s always managed to keep her audience at arm’s length–her demeanor is icy cool–yet her intensity, concentration, and sinuous, disciplined movement style (which seems to be rooted deep into the earth) and her highly charged, sometimes erotic choreography are engaging. One looks because one is pulled into the world she’s created, but there’s always an uneasy sense that one might be intruding, one might not be welcome–it’s like peering surreptitiously into the recesses of a teenager’s bedroom. Fisher’s deeply lonely and strangely beautiful work is veiled, yet it begs for attention and analysis. But just as this thought occurs to the viewer, Fisher changes the scene, the atmosphere; she’s skipped on to a new topic, and now she’s showing you something else, something awkward and naive yet profound and almost heartbreaking.
