She first introduced calligraphic marks into her painting in 1996. Since then, she has been interlocking them to establish a layered space that is scraped, dug up, and partially buried. Full of glinting turquoise blues, malachite greens, and ruby reds, Fishman's palette is reminiscent of ashes, minerals and earth, the source of her pigments. Suspended between states of becoming and decay, emrgence and dissolution, her paintings evoke ruins built upon ruins, the feeling that the artist is excavating, searching for what has been hidden as well as properly burying that which has been neglected or forgotten by others.
— excerpt from "Drawing a New Line" by John Yau, Art on Paper (January/February 2004)