Biography
Krista Dragomer is New York based artist working in drawing, sculpture, and collaborative multimedia projects that move between the ecological present and speculative timelines. Her artworks depict bodies that resist easy categories, bodies that don't sort neatly into human and environment, human and nonhuman, living and dying. Her process is both additive and sedimentary: as she fleshes out drawn, cast, layered, and hand-sculpted forms, shapes emerge that feel both anatomical and geological. Her work has been exhibited at Pace Gallery, Morgan Paper Gallery, LMCC Art Center, and international venues. Collaborative projects have been shown at the Tribeca Film Festival, ICA Boston, and Prix Ars Electronica where the soundscape she created for A Father's Lullaby received the 2021 Award of Distinction in Digital Musics & Sound. Dragomer's drawings are published in Slow Earth Companion: Rooted Wayfaring in Fragmentary Times, edited by For The Wild (Set Margins, 2026), Selah: A Báyò Akómoláfé Reader edited by Eden Pearlstein (Ayin Press, 2026), and Sister Death: Political Theologies for Living and Dying by Beatrice Marovich (Columbia University Press, 2023).
In addition to her studio practice, Dragomer provides artistic and conceptual direction for organizations seeking to make complex theoretical ideas available to diverse audiences through sense-based forms of exploratory engagement. She has served as artistic director and co-producer for major live and online festivals, hosted speaker series with prominent authors, and consulted on the development of new organizations, their websites, archives, speaker series and events. A short list of organizations include: Dancing With Mountains, The Emergence Network, For The Wild and Death is a Verb. Alongside this consulting work, she maintains a practice as an independent educator. In 2020, Dragomer developed and launched Drawing on the Senses (DOTS). DOTS uses drawing to integrate philosophical inquiry with embodied artmaking through prompted explorations into sense perception. Her approach emphasizes drawing as a relational practice rather than the acquisition of representational skills. She has shared this practice with thousands of participants in self-run courses, colleges and universities, and online festivals such as Bayo Akomolafe’s We Will Dance With Mountains.