Krista Dragomer

BIO

Krista Dragomer is an interdisciplinary artist with over 20 years of artmaking experience, working at the intersection of art, philosophy, and social justice. Her practice operates at multiple scales—from intimate drawings and mixed-media wall pieces, to multi-media collaborative projects, to directing large-scale participatory experiences. Her artworks, books, courses, retreats, and events cut transversally across disciplines to question and explore the ways that sensing and perceiving are acts of world-making. Weaving together visual art-making with sound art, curatorial practice, and interdisciplinary inquiry, her work opens up multiple modes of encounter at the thresholds of sensation, material engagement, perception, theory, and practice.

Krista’s work has been sought out by organizations looking for sense-based modalities of thinking and operating in ways that move beyond institutional, humanist, or hierarchical forms of knowledge production. She often works in direct conversation with major thinkers like ecophilosopher David Abram, process philosopher and artist Erin Manning, and landscape architect Dilip da Cunha— thinkers whose work interrogates and reshapes how we understand bodies, perception, non-human agency, and how worlds come into being. Her fluency across multiple intersecting discourses brings dimensionality to her collaborations, creating conditions for bridging diverse theoretical frameworks with material making and sensory exploration.

Krista is creator and primary facilitator of Drawing on the Senses, her para-pedagogical practice that integrates philosophical inquiry with embodied artmaking, inviting participants to sense into the multiple dimensions of "sense"—as bodily sensation, as meaning-making, and as orientation or direction. Drawing on the Senses challenges human-centered hierarchies by approaching the human as a continuum rather than a fixed point, relational rather than discrete, leaving room for uncertainty and aliveness. Developed over nearly a decade, this practice has been offered to hundreds of participants through multi-week courses, workshops, retreats, and guest lectures.

Krista currently serves as Vunja Artist-in-Residence with philosopher Báyò Akómoláfé, working between his linked organizations Dancing With Mountains and The Emergence Network. She also sustains several long-term collaborations across multiple disciplines, creating sound installations with experimental filmmaker Rashin Fahandej, whose multi-platform work, A Father’s Lullaby, has been shown at the Tribeca Film Festival immersive program In Search of Us (2025), the ICA Boston, Prix Ars Electronica where it received the 2021 Award of Distinction in Digital Musics & Sound. She also collaborates frequently with writer-theologian Beatrice Marovich, and their work together was part of Machines in Between: An Immersive Online Audio Program curated by Dr. John Modern. She has co-curated several of Dr. Eben Kirksey’s Multispecies Salon exhibitions and programs centering the intersection of art, research, and activism in local and global responses to the global climate crisis.

Krista’s artwork has been exhibited at numerous international venues and her drawings are published in major academic works including Beatrice Marovich's Sister Death: Political Theologies for Living and Dying (Columbia University Press, 2023) and the forthcoming Selah: A Báyò Akómoláfé Reader (Ayin Press, 2026). She is currently collaborating on an anthology with For The Wild (2026).

ART

Krista describes her studio as the place where the body gets to think philosophically through process and material encounter. Her practice centers on drawing and paper-based work—from intimate works on paper to cast paper sculptures and papermaking with environmental materials. Working with paper pulp, found materials, atmospheric debris, and environmentally responsive dyes, she engages processes that allow a sensing-with materials, presencing and translating perceptual shifts while inviting new possibilities. The spirit of collaboration that animates this process results in works that refuse singular representation, objects that embody different forms of relationality and hold time in ways that resist linear narratives.

About Krista's art, Báyò Akómoláfé writes: "I gasped when I encountered your art. I said to myself: 'Here's another fascinating aesthetic exploration of the Afrocene!' Your work feels mycorrhizal, like it was painted with dirt...the way you uproot bodies and simultaneously re-root them in loamy soils simmering beneath the concrete floors of the Enlightenment." Drawing from ecophilosophy, posthumanist thought, feminist and queer theory, her practice asks: what forms of relational ethics emerge when we open ourselves to stranger modes of sensation? Her work investigates bodies in transition, often drawing on processes and figures of death, queerness, monstrosity, and liquidity, as modes of being and relating beyond categorical definitions of self and world. Through processes of making, unmaking, and remaking, her works sidle representation, moving alongside rather than cohering within fixed modalities, refusing domestication into familiar forms of knowing.

contact: studio.kristadragomer@gmail.com