Funny how I'm always on the head of a longing arrow

Extending from Paul B. Preciado’s assertion that “screens [are] the new skin of the world” [1], Fisher explores screens as prosthetic extensions of the body—techno-sexual organs mediating our desires, interactions, and dissolving outlines. For Fisher, the screen emerges as a libidinal surface, an interface that blurs the boundaries between physicality and the digital, intimacy and isolation.

Through vignettes, loops and symbolic gestures, bodies—human, industrial and animal—transform and dissolve. These visual works resist fixed form, using footage of the artist’s own body—abstracted into omnipresence or employed to explore a girlified trope as a “psychic operation” [2] —interfacing flesh and machine, love and violence. Similarly, the inclusion of ‘lowly’ creatures, such as fish in hyper-artificial environments, highlights our shared exchange of matter and the reverence owed to all forms of life, however small or overlooked.

This exploration of communion challenges individualist boundaries, fostering connections not only with others but also with the so-called ‘natural’ world, refracted through the lens of hyper-saturated digital culture. The protean conditions of contemporary subjectivity emerge as desires warp and refract, as painting bleeds into video art, and as digital networks give rise to new spiritual longings and collectivist propositions.

By dissolving the self into technological and ecological entanglements, Fisher reimagines the screen as a space of both anguish and play. Here, the obsolete and the avant-garde collide—video editing effects become painterly tools, and hypervisibility becomes a meditation on exposure and reverence. Funny how I’m always on the head of a longing arrow asks: Can communion with the overlooked and the fragmented help us navigate the spaces between individualism and interconnected existence?

Fisher invites us to reimagine ourselves as porous, mutable, and profoundly interwoven with the world.

[1] Preciado, Paul B. An Apartment on Uranus. Translated by Charlotte Mandell, London, United Kingdom, Fitzcorraldo Editions, 2019.

[2] Chu, Andrea Long. Females. Verso Books, 2019.