Drawings created while hiking through a nature reserve in Deep Creek, Maryland. Made from art materials and found materials – mushrooms, rocks, dirt - these drawings, part observation, part confabulation, are focused on the complex multispecies intertwinings happening between the many different types of life (and non-life) present in a particular place and moment in time.
Legend Creek, 2015
MIxed media, dimensions variable.
Drawings done from objects found on walks through the woods, meditating on life cycles and the changing seasons.
Turmeric Sunrise, 2015
Mixed media on watercolor paper
These drawings were made during the Bahai 19 Day Fast, during which time those observing the Fast abstain from food and drink from sunup to sundown, in a spirit of restraint and reflection. Each morning I would awake in the dark in that last dark hour of night before dawn to prepare a breakfast to sustain me through the day. As I peeled, sliced and steeped, I placed the discarded bits of food on a piece of 9”x12” watercolor paper labeled with the date and sunrise time. I set the stained paper on the steam radiator to dry while I ate. When the sun was up and my meal and morning readings done, I brushed the food pieces off the paper and into the compost bin. I then examined the stains, letting pictures emerge like clouds, informed by the morning's intake. Drawing was a matter of letting images appear gradually, without much editing. Each drawing was allotted 30 minutes to an hour, depending on the demands of the day.
Dates and Materials
March 2 Sunrise: 6:29. Materials: Black tea, turmeric, eggshells, avocado, ash, pencil, blue watercolor.
March 3 Sunrise: 6:27. Materials: 1 beet slice, a spinach leaf, black tea, turmeric, ash, candle wax and pencil.
March 20 Sunrise: 7:00. Materials: Tea, cinnamon, turmeric, blueberries, pencil.
The Open, 2012-2015
Walnut ink on watercolor paper, dimensions variable.
This selection of drawings brings the question of ends back to the messiness of origins, to cycles of creation and destruction, to a post-industrial Eden emerging verdant through the muck and waste, overturning the mytho-logic soil of our beginnings.
Animating this series of drawings are a host of questions that arise with the breakdown of the phenomenon we call "nature": questions about sex, gender, and bodies; questions about production, reproduction, and waste; questions about animality, bio-politics, and the creatures who refuse categorization as a singular being, hovering between becoming or negating, between life and death.
Mixed-media on watercolor paper
We think of our appearance as distinctly individual, though it is created through intermixing with myriads of non-human creatures and substances. Just as our internal biome, with its billions of bacteria, challenges the idea of the self as a singular entity, our face is similarly complex. With titles drawn from mash-ups of cosmetics and skin care products, the images play with ideas about image, internally held and externally projected. The drawings use as a template gestures drawn from advertisements depicting women putting on make-up – products often made with other organisms; flowers and fruits, beeswax, lanolin, beetles, fish, metals and minerals from the ground. Highlighting the intertwining of bodies and materials, the drawings depict indeterminate images of humanness that are at once flora, fauna, earth and flesh.
Krista Dragomer + Aeric Meredith-Goujon
Krista Dragomer: wearable sculptures, props, set design and fabrication
Aeric Meredith-Goujon: photography, lighting, set design and fabrication
Inspired by Dragomer's figures and creaturely mergings, and Meredith-Goujon's provocative photographic subjects, colors and moods, the two artists collaborated on a series of images that play on ideas of figure and ground, beauty and the grotesque, habitations and inhabitants.
160 Years of Pressure, 2007-2010
Krista Dragomer and Rashin Fahandej
In 1848, a woman in Iran by the name of Tahirih unveiled her face in a group of men in a proclamation of undeniable equality.
In 1848, a group of women in the United States, Lucretia Mott, Elizabeth Cady Stanton, Mary Ann M’Clintock, Martha Coffin Wright, and Jane Hunt met for tea and began the women’s suffrage movement.
160 Years of Pressure parallels that wavelike motion in the intimate, personal space of one woman. The sound and video that comprise the project explore isolated moments of self-reflection, repulsion, confusion, outrage, and desire, and the building pressure of that tumult. It is our response to what has or has not taken place since the circumstances in 1848.
Since the inception of this project in 2007 we have been working with the sound and images in ways that subvert the cohesion of images as primary sources of information. The audio and the visual each operate within its own structures of tension, allowing for perceptions of power to shift between the two elements. When paired, they complicate each other, creating a shifting perceptual terrain that does not only exist in representation, but it is actualized through its physical play on the body. The sounds and images continuously modify each other, in a poetic structure more empathic than explanatory.
Our artistic collaboration is a sociopolitical position. It embodies our purpose in creating artworks: physically bringing together bodies, cultures, and artistic mediums to create a moment of encounter where the preconceptions we hold about each other and ourselves collapse. Collaboration is a practice that actualizes the types of connections we seek to investigate in our work and establish with our audience.
Installation at the Belkin Art Gallery, Vancouver 2009.
Panj Ab, 2010
time (5 minute clip), 5 channel video and sound installation