Man, Myth, Legend

Man, Myth, Legend: Printmaking by Craig Fisher
October 17 – December 19, 2026

New work—Timeless technique

20 North Gallery presents a solo exhibition of aquatint, intaglio etchings and other printmaking works-on-paper by Toledo artist Craig Fisher. Fisher’s prints utilize centuries-old printmaking processes to create fantastical scenes that span topics of nature, mythology, architecture and the physical sciences.

The exhibit will open with a free, Public Reception on Saturday, October 17, 2026 from 6 – 8 p.m.

The exhibit continues through December 19, 2026.

Click to view and download the Man, Myth, Legend: Printmaking by Craig Fisher exhibition catalogue, containing artist information, art images, prices and artwork commentary for the full exhibit.

"Titans" etching with aquatint and chine collé by Craig Fisher — “Titans” etching with aquatint and chine collé by Craig Fisher

Craig Fisher (Toledo, Ohio)
Craig Fisher received his Bachelor of Arts in fine art from The University of Toledo, School of Design in 1976, following two years of additional study in The Netherlands at the Pascal College, Zaandam, North Holland. He has worked in various positions as a technical Illustrator, graphic designer and as a concept artist.

Additionally, he has helped develop business-to-business visual learning tools as well as tools that help millions of people world-wide learn to manage chronic disease states such as diabetes and congestive heart failure.

Fisher works from his home studio, Ibis Press Studio. His works have exhibited across the globe, including through national and international competitions. Recently, he enjoyed a solo exhibition in the Toledo Museum of Art Savage Community Gallery (Toledo, Ohio) in November 2025 – January 2026. Fisher’s works form part of numerous public and private collections such as Purdue University (Lafayette, Indiana), the University of Dallas (Texas), the Toledo Federation of Art Societies Collection at Schedel Arboretum & Gardens (Elmore, Ohio) and Tokyo Metropolitan Art Museum (Japan). He is a recipient of the 2024 and 2025 Ohio Arts Commission Individual Opportunity and Artist with Disabilities Access grants.

In 2025, Fisher participated as a visiting artist-in residence at the Morgan Conservatory & Education Foundation (Cleveland, Ohio). He is a past committee chair of the Toledo Federation of Art Societies and is a member of Boston Printmakers at Emmanuel College and the Mid American Print Council.

Artist Statement
From my first introduction to the pencil, I have been a draftsman. From there and onto college I have been working to find that fine line between the artist and the draftsman. From the early temples of Karnak to the stained glass cathedral windows of the late Middle Ages, images convey a message or a story. In those creations, an artist/draftsman had to craft a story board to arrive at a solution.

"The Eastern Door" colored etching with aquatint by Craig Fisher — “The Eastern Door” colored etching with aquatint by Craig Fisher

For me, printmaking seemed a natural extension of that story that allowed me to carry drawing forward into making multiples. In intaglio printmaking, I fell in love with the wonderful marks that came from copperplate work which had a density and freshness that pen, and pencil could not match. My challenge was to explore how better to harness those qualities and allow them free reign.

My subject matter is varied. I am not a generalist in my approach to the creative process. A draft sketch can often have a change of direction brought on by the iterative process itself. Most of my pieces are large, as I take keen interest in the monumental, the pillared icon, and the undiscovered remnant. My lifelong interest in world cultures and the natural sciences have opened potential content that I find challenging. I am inspired by historic architecture and leverage it to suggest a background narrative. These landscapes can be incomplete or bundled with unrelated structures that occupy a stage or tableau. I sometimes use pure geometric shapes as mobile avatars, while others may use a particular technique to allow the print a greater visual range. Recently, I have been exploring the use of the human figure in my prints. They have been become part of the landscapes and often evolve into a unique soliloquy with the subject’s actions in that image. Each print (or painting) requires many iterations before a final approach is realized.