Katya Stavisky Jackson's work explores longing, intimacy, and myth through layered printmaking.
Working primarily in relief and monotype, Jackson begins with poetry, dream fragments, and observed moments, translating them into images through repeated passes through the press. Her process combines planning and accident: a sketch and vague notion of color gain fidelity and momentum with each layer. Her background in engineering informs this iterative approach, but the work remains guided by intuition and touch.
Jackson's most recent series, Views of Venus, is a collection of 10-30 layer monotypes on paper and fabric that reconsiders female and mythological figures drawn from classical sculpture. Jackson reimagines the original historical context of these works, adding her own symbols to suggest alternative stories for their subjects. Rather than treating these figures as fixed ideals of beauty or passive objects, the series shifts attention toward interiority, danger, desire, and transformation.
Jackson studied product design and mechanical engineering (2017) at Stanford University before leaving engineering in 2024 to pursue a full-time studio practice.
She has exhibited in juried group shows across the US, with recent highlights including Woolwich Contemporary Print Fair's 2025 Director's Cut shortlist and the Ironbridge Fine Arts Printmaking Competition in 2025 and 2026.
Katya Stavisky Jackson's work explores longing, intimacy, and myth through layered printmaking.
Working primarily in relief and monotype, Jackson begins with poetry, dream fragments, and observed moments, translating them into images through repeated passes through the press. Her process combines planning and accident: a sketch and vague notion of color gain fidelity and momentum with each layer. Her background in engineering informs this iterative approach, but the work remains guided by intuition and touch.
Jackson's most recent series, Views of Venus, is a collection of 10-30 layer monotypes on paper and fabric that reconsiders female and mythological figures drawn from classical sculpture. Jackson reimagines the original historical context of these works, adding her own symbols to suggest alternative stories for their subjects. Rather than treating these figures as fixed ideals of beauty or passive objects, the series shifts attention toward interiority, danger, desire, and transformation.
Jackson studied product design and mechanical engineering (2017) at Stanford University before leaving engineering in 2024 to pursue a full-time studio practice.
She has exhibited in juried group shows across the US, with recent highlights including Woolwich Contemporary Print Fair's 2025 Director's Cut shortlist and the Ironbridge Fine Arts Printmaking Competition in 2025 and 2026.
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