Krista Narciso is a Connecticut-based emerging artist working across the media of printmaking, drawing, and book arts. Narciso earned her BFA in printmaking from the Hartford Art School, where she received the Barbara Podorowsky Memorial Award. In 2013 she was awarded the Bernard Vinick International Endowed Scholarship and traveled to Cortona, Italy to study papermaking and book arts. Narciso’s work has been included in exhibitions throughout New England, in Athens, Georgia, and internationally in Northern Ireland, Egypt, and Italy. Her work is held in collections in the United States, Germany, Egypt, and Italy.
Narciso creates limited editions of prints and artist books under the press name Petite Poppy Press. Petite Poppy Press is named for Narciso’s tendency to create small works, and for the first intaglio print she ever pulled – an image of poppies. In 2015, Narciso was commissioned by the Wadsworth Atheneum for the hand-bookbinding of their catalog The Cabinet of Art and Curiosities: A Field Guide.
In addition to her work as an artist, Narciso is an educator and arts administrator. Her teaching experience includes teaching assistantships in printmaking and book arts at the Hartford Art School. Narciso has also held several positions at nonprofit galleries and museums throughout Connecticut and in Miami, Florida. She is currently the Manager of Membership and Outreach at the Northwest Connecticut Arts Council.
My earliest memory is running between the rows of tomato plants in my grandfather’s garden. The plants were taller than me and the garden seemed never-ending; fleshy green leaves extended in every direction, their shadows cast on the ground below my feet. This memory becomes more vivid in time, while others fade or vanish completely.
There is a physical absence now where the garden once was. When I am making my work, I am present in the memory – running between the rows in the garden – again. It starts with noticing. Noticing quietly fading shadows. Noticing the crawling growth and somehow serene decay of flora. Noticing leaves cast away from a tree, no longer grounded.
I notice, and record. When I record, whether in drawing or in print, I create a memory of a particular place at a particular instant in time. My work gives permanence to an ephemeral moment in the face of its inherent impermanence. It allows the essence of that moment to exist in the present again as memory, despite the reality of its absence.
Notes on Process
The process of printmaking forces me to slow down when I am making my work. I embrace the meditative qualities of rocking a mezzotint plate, setting type for letterpress, and cutting down a stack of paper for a book. I am drawn to the book form in particular because it allows the viewer to move through time and space as they are turning the pages. I choose transparent and translucent papers often; these papers allow the viewer to look into the past, present, and future in a single moment.