Katherine Filice is an award-winning abstract artist based in Northern California, best known for her evocative multimedia works, which art critic Nancy Kay Turner described as “sensuous, tactile, and provocative.” Drawing inspiration from centuries-old forests and the practice of Shinrin-yoku (forest bathing), her work explores themes of spirituality, memory, and human connectivity. Her practice merges ink, oil painting, drawing, and a range of found and natural materials.
Filice’s artistic journey has been shaped by a comprehensive traditional art education and invaluable mentorship from artists, critics, and curators through several New York-based critique programs, including the Yellow Chair Salon and NYC Crit Club, along with continuing education at UC Santa Cruz and Stanford University. In addition to her fine art practice, she founded and led a highly successful creative studio in Silicon Valley for over 30 years, earning numerous design awards for her commercial work. She holds a BS degree from the University of San Francisco, and her professional and educational background deeply influence her exploration of human relationships and their reflection within the natural world.
Filice’s work has been exhibited in solo and group exhibitions throughout the United States, Europe, and Asia, and is held in private and corporate collections worldwide. In 2025, she presented a solo exhibition, The Nature of Things, at Be Seen Gallery in Northern California. Other recent solo exhibitions include Lost in the Woods at the Pacific Art League and Lost & Found at 1202 Contemporary. In 2024, her work was included in group exhibitions at the New Museum Los Gatos and the Triton Museum in Santa Clara. She was also featured in the Monterey Museum of Art Biennial. Katherine serves on the San Benito County Arts Council Curatorial Committee and has been an AIVA judge for over 15 years.
Statement
I create multimedia abstract works that merge ink, sculpted paper, mica, found natural materials, oil painting, and drawing. My practice is rooted in exploring spiritual boundaries, connections, and memory—shaped both by personal experience and the broader human narrative.
The natural environment, especially the centuries-old forests of Northern California, deeply informs my work. I’m drawn to the quiet power of these ancient trees—their bark, pine needles, and even beetle trails are archival narratives—echoes where human and natural experiences intertwine. Through this lens, I search for what binds me to place, seeking connection that moves beyond the physical into the spiritual.
Natural materials—bark, branches, and other organic forms—are often embedded directly into the work. I often bury raw canvas for a full year, allowing the earth itself to leave its mark. These gestures invite the forest to become a co-creator. The result is a body of work that blurs the line between seen and unseen, where materials act as brushstrokes in a larger, ongoing conversation.
Influenced by artists like Sam Gilliam, Julie Mehretu, Anselm Kiefer, and Michael David, I aim to push the boundaries of form and material while embracing what is layered, weathered, or partially lost. My work invites viewers to pause, reflect, and ask: Where are we? My quiet response is, We are nowhere, and we are everywhere.