Five Questions with Associate Professor Reagan Furqueron

"Five Questions" is a Q&A series where we ask various Herron faculty members for sage advice and insights about their chosen creative disciplines. This month, we highlight Reagan Furqueron, director of Herron's foundation studies program. Read on to learn what inspires him and hear how he breaks the ice with first-year students.

HERRON: Tell us about your work – the processes and the underlying concepts.

REAGAN FURQUERON: I really like to make things and explore ideas through a variety of materials. Since my training is in woodworking and furniture design, much of my work draws from that approach to make both functional and non-functional objects.

I focus on how the parts relate to each other and tweak the proportions to make a piece sing. I'm also pursuing abstract sculptural forms made from welded steel and aluminum. These processes are loud and pretty dirty, so sometimes I work in a quieter way using weavable, basket-making materials.

Since moving to Indianapolis, I've become interested in the racing and car culture that is embedded in this city and region. I'm inspired by things that move or imply movement and things that look fast even if they're sitting still, such as cars, rockets, and airplanes. For example, a Ferrari has a presence to it based on the way that it's designed. That design is really pure. Could we begin to make furniture look like that? Once I started digging into this idea I got really interested in the history of aeronautical design and car design.

The way they used to make cars and airplanes was with wooden understructures covered in fabric, where you would have this interesting skeletal system. I'm making my work in that way and taking from that technology to add to metal and furniture techniques. These inspirations work their way into all the things I make regardless of the material.

HERRON: We hear you've added welding to your creative cache. How are you applying it to your studio practice?

FURQUERON: I've been exploring ideas through steel and aluminum and, at first, I was using cold connections like riveting, but needed a more permanent way to put the work together. This naturally led to welding and to my material research in aluminum and steel fabrication to create forms that would be unachievable using other materials. It's been a slippery slope getting the outcomes to look the way I want them to, but I keep at it and really enjoy the process. I like to continually push myself in the studio while exploring new ideas and learning new working methods. It's fun and keeps me on my toes.

HERRON: What changes have you seen in the ways emerging artists establish their careers?

FURQUERON: I think one of the major changes is how we get our work in front of the public. Brick-and-mortar galleries are no longer the only avenues to show work. Online galleries, national and international art fairs, and the use of social media have all shown to be highly effective.

I see this as a positive change, but in my own practice, I have had to learn to navigate this new terrain. Having an online presence is important, but I caution students to be thoughtful about what's shared online and the way you present yourself.

HERRON: What is most essential for students to learn during foundation year at Herron?

FURQUERON: There are a few… With the introduction of technical and conceptual processes, I think it's also important for students to understand that a career in art and design isn't homework. It's a lifestyle that influences most of the decisions you make and how you live, not something you rush through so you can punch the clock and go home.

I also like Herron's focus on taking care of the whole student, introducing methods so they can develop to their fullest creative potential, but also discussing the aspect that what we do as artists and designers is difficult – both physically and mentally. To successfully do this, you have to have a balance: taking care of yourself, eating well, sleeping, surrounding yourself with a positive community, and continuing to go outside the studio and look around to replenish what is inspiring you to be able to continue to create work.