Over the past fifteen years, Katie Fogg has developed a practice that moves between plein-air painting and visionary figurative work, exploring the relationship between the observed world and the deeper emotional landscape within. Her paintings are rooted in a continual process of looking inward and outward becoming an evolving inquiry into consciousness, healing, ancestry, and the possibility of peace by looking within.

Fogg’s plein-air paintings are vibrant studies of place, light, and perception. Neon color, transparent and opaque layers of oil, and shifting perspectives create a luminous tension across cityscapes and recurring subjects such as umbrellas and flowers. Her visionary figurative paintings emerge from traditional training in observational and figurative painting, while increasingly embracing intuition, spaciousness, and a transformed relationship to the figure

Painting has become a way for Fogg to understand introspection through travel, solitude, music, movement, and silence. Her practice considers the ways consciousness, physics, epigenetics, and ancestral experience shape both individual and collective life. Across two seemingly different bodies of work, she searches for a common language of connection—between the inner and outer worlds, the personal and universal, and the individual and the collective.

Fogg received her MFA from the New York Academy of Art in 2015. Following the catastrophic loss of her mother during this period, her artistic path became an ongoing journey between observation and interior vision. She received the John Stobart Fellowship for her dedication to observational painting and has developed independent exhibitions and projects throughout New York, Connecticut, and California. Alongside her studio practice, Fogg teaches art to young people, including healing-centered art classes, and has served as an adjunct professor at Mitchell College.

Fogg’s work ultimately reflects a daily practice of seeking harmony: experience to experience, painting to painting, and inner world to outer world. Through this continual movement between two realms, she invites a slower way of seeing—one grounded in presence, connection, and the possibility of peace beginning from within.