Textile Techniques in Metal for Jewelers, Textile Artists and Sculptors, published in 1975. "I had done weaving, twining and knitting, just not explored all the other possibilities," she explains. "But I thought I should, so I was making samples, photographing them and finding out—to my astonishment, actually—that these things could be done in metal."

She has taught in Uruguay and Vienna and traveled the world, gathering inspiration for her art from museum collections in countries from Denmark to Egypt and Peru. Artist and educator, the two parts of Fisch's life can't be separated. Retired from SDSU in 2000, she continues to teach occasional workshops at, among others, Haystack Mountain School of Crafts in Maine and Penland School of Craft in North Carolina.

The Formica-covered and painted modern end tables in the living room were the result of a competition among SDSU furniture students, under visiting British artist Richard La Trobe Bateman, to design an end table in the mid-1980s. Fisch chose the design of Cathy Sicanga from the Philippines. "I liked it so much that I commissioned a second," she says. The glass-top coffee table in her library was commissioned from another furniture student, Todd Partridge, just two years ago as an assignment from Wendy Maruyama, head of SDSU s furniture/woodworking department. Maruyama herself designed Fisch's office desk.

Fisch feels that teachers need to be active in their fields to inform their students, so she has always exhibited her work. Today it's part of the collections of the Vatican, the Victoria and Albert Museum, the Renwick Gallery and the Museum of Fine Arts, Boston. She still works regularly in her studio.

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Fine and sterling silver and coated copper went into Fisch's crocheted "7 Large Beads," top. She made this platinum brooch, "Woven Soft Spiral," in 1986.
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