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TO THE HEART A SOLO EXHIBITION BY KATY BERRY FURGASON

FEBRUARY 14 – MARCH 23, 2014


Our mission is to provide a friendly environment to make science more accessible to everyone through science-related visual arts exhibitions, foster the careers of emerging and established artistscientists and to provide professional development opportunities for scientists to become more engaging public communicators.  

SPONSORS:   Treaty Oak Distilling Co. (Austin, TX) Pate + Eva (Austin, TX) Mary, Tristan, Wesley + Ian Clum (Albuquerque, NM) Very special thanks to Cinde Weatherby, Missy Gillespie, and Scot Furgason

ALL WORKS LISTED IN THS CATALOGUE ARE USED BY PERMISSION WITH ALL COPYRIGHTS RESERVED BY THE ARTIST. WORKS MAY NOT BE REPRODUCED. COPYRIGHT©ART.SCIENCE.GALLERY., AUSTIN, TEXAS, 2014 ALL RIGHTS RESERVED. FIRST EDIITION


Katey Berry Furgason’s (Santa Fe, NM) paintings in clay, plaster and metal leaf explore the elegance of form and function in the microscopic world. Her found wood sculptures are initiated by nature and finished in the studio as she scrapes, sands, and surrounds each piece in earth-based mediums. Both series focus on revealing core. Katey first came in contact with the Art.Science.Gallery when she submitted three works from her Portraits of the Microscopic series for the EVOLUTION exhibition we had here at the gallery last spring. In addition, Hayley had the immense good fortune to visit the studio Katey and her husband, Scot, share in Santa Fe to learn more about her inspirations and process. To The Heart, a solo exhibition of Katey’s painting and sculpture, runs February 14- March 23 at Art.Science.Gallery in Austin, Texas.

We had the pleasure of interviewing Katey about her artistic process for this series on our biocreativity blog, a page that explores the interelatedness of the arts + sciences through the voice of gallery director and artist/scientist, Hayley Gillespie.


[biocreativity] Welcome to the biocreativity blog, Katey!  What type of work do you do?  [KBF] I believe all life is a series of collaborations.  We are the results; past, present and future, of collaborations in which we find meaning and purpose. This belief structures how I live and how I work. When I am working I am engaged in collaboration with my subject. My subject presents its physical facts to me and I respond. I search for its essence, its core, its heart and its possible transformations.  My role is to discover what my subject was, is and can be.

[biocreativity] Where do you see yourself on the biocreativity spectrum?  [KBF] From 16-18 years of age I studied human anatomy, drawing and sculpture at the Art Student’s League in NYC to get some classical training before entering into the BFA program at Hunter College in NYC, which was known to lean heavily towards the conceptual.


[biocreativity] Where do you see yourself on the biocreativity spectrum?  [KBF] From 16-18 years of age I studied human anatomy, drawing and sculpture at the Art Student’s League in NYC to get some classical training before entering into the BFA program at Hunter College in NYC, which was known to lean heavily towards the conceptual. At Hunter I studied studio art and philosophy.  Although my schooling was focused in the Arts, being raised by a father who was a chemical engineer, inventor, entrepreneur and lover of experiments (especially on the kitchen table, when he wanted to show me, say, what distillation was) filled me with the wonders of life and beauty of discovery.  My father’s approach to life filled and nourished my childhood, it was founded in his love of what science showed us, in the beauty of all that was known and the wonder of all that was yet to be discovered. Although my formal academic training did not include scientific study, the entirety of my childhood was bathed in it.

 


[biocreativity]  That sounds like an amazing experience, and I can certainly see how it has influenced your work.  How do you currently view the interaction of arts and sciences? How do you think one informs the other? [KBF] The idea of Infinite Divisibility, which is the belief that there are infinite parts to every whole is widely held by scientists, philosophers, economists….and by most of us who give it some thought. This idea applied to the notion of Truth gives us this: The Whole of Truth, the entirety of All existent Truth is infinitely divisible = there are infinite parts/pieces/ bits/aspects which make up the Whole Truth. Scientists, artists, philosophers, teachers, parents, etc. (all of us), to some extent, seek to understand some part(s) of Truth in order to make our lives and existence more meaningful. Artists and Scientists make it their life goal to seek part(s) of our Whole Truth with the clear purpose of sharing their discoveries and observations – these bits of Truth – with others, to build upon human understanding and depth of experience.

   


The artist and the scientist set out on paths of discovery, often not knowing (even if they think they do!) where the path will lead and what will be uncovered. In methodology they may differ (artists do not have to adhere to the scientific method) but in purpose they do not. In purpose they share a goal, an outlook on life, a belief in, love, and importance, of; discovery, wonder, questions, observations and seeking. Seeking bits of Truth that fascinate us, that inform us, that make our lives richer. IIn other words, very simply, both Artist and Scientist say to all who will hear them “Hey! I discovered something! I want you to know about it!”.

 


[biocreativity]  I think about that process of discovery a lot, and being both an artist and scientist myself, I definitely see the parallels in purpose you describe. I was so fascinated to learn about your process when I visited your studio last summer.  Please describe your current art projects for the biocreativity readers. [KBF] In my paintings of the microscopic I spend endless hours looking at and reading about my subject.  I read, I take notes, I study what they do and what they look like.  For days, weeks, I look at hundreds of images, take notes on what they are, how they function, I sketch them, over and over and over, until I feel I have ‘gotten’ them. Then, all notes and sketches are put aside and I begin to sketch from memory. I compose the painting from memory with pencil and paper first. I make my own clay plaster paint and apply layers, with a small trowel, onto masonite. I then apply metal leaf to areas where my subject matter will be and then I etch into the leaf with a small, dental like tool. The details of my subjects are etched out of the leaf.  The image there is from memory, it is not meant to give us a realist depiction but rather a human interpretation, through memory, of its most important aspects; its essence interpreted.

 


My work with found wood brings to me a different process and outcome because it presents its reality to me in a much different way than a microscopic subject does. My wood pieces are found on my daily walks in New Mexico. I walk the rivers, arroyos, deserts and mountains of Santa Fe. I pick up decaying pieces of wood that visually jump out at me. I am struck by how they have been dramatically re-shaped by insects, time and weather. Their bodies reveal their history. I am aware that at that moment of picking them up and taking them to my studio I interrupt their cycle in nature. A collaboration begins when I thoroughly gut each piece of its soft rot and reveal the hard form; its core. This is a process of discovery because I cannot predict what will be uncovered; what will be left remaining. I then scrape and sand each piece and surround them in earth based mediums: clay, wax, metal. The process feels deeply ceremonial and ritualistic: from the selecting… to the ‘gutting’…to the re-working of the surface… to the ‘re-dressing’….to the mounting on the wall : subject and I go through a transformation.


[biocreativity] Katey, tell us more about the inspirations and motivations behind your work and practice.  [KBF]# I am interested in art imitating the way in which we live; collaboratively. I am drawn to collaborations with nature. I want nature to guide my work, give me my set of criteria and physical facts. I am drawn to the process of discovery and not being in full control of the outcome. I need to be engaged with my environment. I believe life is fascinating and that beauty is everywhere and that it often goes unseen. I am filled with the desire to show people some of that beauty that often goes unseen.


[biocreativity] What is the most important thing that you want others to know about your work? [KBF] The most important thing about my work would be this: once I am done with it, it is Yours. It is yours to interpret freely and personally, to attach whatever kind of meaning to it you wish, it has no ‘right’ interpretation.  Once I am finished making it, it is itself fully offered to you. biocreativity] I think that is a really important and generous point to make. Since part of our mission at Art.Science.Gallery. is to engage people in the science through the arts, I think about this a lot. We try to do this in a non-intimidating way, but I some people feel intimidated in an art gallery setting, so then our mission also becomes about helping break down “crutches” people have built up about not considering themselves to be very “sciency” or very “artistic”. Your statement above is something that I hope would feel very inviting to viewers of your work. Katey what’s next for you in art + science? Where do you see your current projects going, or what would you like to do next?


[KBF] I will continue to explore the objects in the natural world around me.  I am planning on doing several room installations – in which the walls will be covered with tree roots, mounted flush against it – bringing the outside in and directing our gaze and thoughts to what often goes unnoticed. I am still fascinated with how time, weather and insects act upon decaying pieces of wood, with how and where natural objects are in the ecological cycle. I never really know what the next work will be – one thing leads to the other – one discovery to the other.

[biocreativity] Where can biocreativity readers find you on the web? [KBF] My facebook page is found at https://www.facebook.com/KateyBerryPaintings

 


[biocreativity] What is your advice to young artists and scientists who might be thinking about getting into art-science projects? [KBF] Focus on the process, always maintain integrity (make things well), and let the outcome be born out of it (allow the outcome, don’t force it).

[biocreativity] Anything else you’d like to mention? [KBF] Art is life, it is engagement, it is collaboration, it is a process of discovery – you are a necessary part of that. It is your eyes, your heart, and your mind that bring it to life and sustain its meaning(s).

 


Three Diatoms metal leaf, plaster 2012 / 30” x 24” $2,800 1  


Two Diatoms metal leaf, plaster 2012 / 24” x 30” $2,800 2  


Bone metal leaf, acrylic 2013 / 10.5” x 8.5” $650 3  


Heart’s Beat metal leaf, plaster / 2012 / 15.5” x 34.5” / $2,400 4  


Morning Dew metal leaf, plaster 2012 / 24.5” x 12.5” $2,500 5  


Allowing Movement metal leaf, plaster 2012 / 24” x 28” $2,600 6  


Connected metal leaf, plaster 2012 / 28” x 24” $2,600 7  


Heart’s Palisades metal leaf, plaster / 2012 / 26” x 15” / $2,600 8  


Inside the Eye metal leaf, plaster / 2012 / 12.5” x 36” / $2,400 9  


Pine Metal leaf, acrylic 2012 / 36” x 30” $2,800 10  


Heart Strings II Metal leaf / 2012 / 15.5” x 34.5” / $2,400 each 11  


Root Drawing Burnt roots, clay, wax 2013 / 76” x 28” x 33” $4,600 12  


The Greeters I, II, III Burnt wood, clay, wax on steel stand 2013 / 38” x 9” x 6” / 34” x 11” x 6” / 48” 10” x 5” $2,600 each 13  


Nerve Bundle Metal leaf, acrylic 2012 / 37” x 14” $2,400 14  


Bridge to Nerve Metal leaf, plaster / 2012 24” x 20” $2,400 15  


Bridge to Diatom Metal leaf, plaster / 2012 24” x 20” $2,400 16  


River Walk VII (left), River Walk IV (right, top), River Walk VI (right, bottom) Wood, clay, wax / 2013 19” x 7” / 9” x 3” / 10” x 6” $550 each 17  


Mountain Walk IV with red, River Walk XV (torch), River Walk (wishbone) Wood, clay, wax / 2013 19” x 20” x 11” / 14” x 7” x 3” / 11” x 15” $1,200 / $550 / $450 18  


River Walk XVI, River Walk XVII (torch), River Walk III Wood, clay, wax / 2013 20” x 6” x 2” / 17” x 4” x 2” / 19” x 3” $550 each 19  


Desert Find & Rebirth I Wood, clay, wax / 2013 40” x 11” x 4” $1,200 20  


Desert Find & Rebirth II Wood, clay, wax / 2013 34” x 11” x 6” $1,200 21  


Desert Find and Rebirth III Wood, clay, wax / 2013 48” x 10” x 5” $1,200 22  


Hollowed with Green Wood, clay, wax, steel / 2013 48” x 10” X 6” $1,800 23  


Mountain Find & Rebirth II Wood, clay, wax / 2013 50” x 10” x 10” $2,800 24  


Hollowed with Purple Wood, clay, wax, steel / 2013 48” x 9” x 6” $1,800 25  


Mountain Walk IV with blue Wood, clay, wax / 2013 10” x 10” x 12” $1,800 26  


Mountain Walk I with red Wood, clay, wax / 2013 16” x 5” x 5” $1,800 27  


Mountain Walk II with blue Wood, clay, wax / 2013 15” x 6” x 10” $1,800 28  


Mountain Walk III with green Wood, clay, wax / 2013 14” x 7” x 5” $1,800 29  


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ART.SCIENCE.GALLERY.

AUSTIN, TX 2014


TO THE HEART / KATY BERRY FURGASON