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  • mixed media 28 x 29 x 1.5"
    Taken is the story of those whose lives have been turned to chaos in minutes. Those who were taken hostage, kidnapped or sold into slavery…. abused and the innocence of their youth is destroyed at the hands of their captors. They feel isolated and forgotten and... even if they want to cry out loud...they are too terrified to make a sound. I hear your cries in my mind... and I want the rest of the world to see it.  
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  • acrylic on canvas 15 x 19 x 2"
    I lived in Philadelphia only briefly decades ago, but in recent years I have had more than a few occasions to visit, thanks to the generosity of a local friend. I have taken advantage of those visits to sketch, paint and photograph various sites around the city. My paintings of South 9nth Street, the Italian Market's main drag, are my most successful efforts to date to capture the essence of one of Philadelphia's neighborhoods. I like the area's historic status and distinct character: It looks impervious to the development that is so prevalent in much of the city these days. Although, there are indications that this neighborhood too will give way to new construction.  
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  • bronze 4 x 14 x 17"
    A country, locality, or situation in which cultural assimilation results in blending the heritage and traditions of previously distinct ethnic groups. Yes, America has been labeled a melting pot of society, we encompass all colors, religions, nationalities to become a cohesive society, but our history also speaks of something else. A time when not all people who came to this country were treated the same, when people were spit upon, enslaved, and treated as second class citizens. We have spent the past few hundred years trying to rectify that mistake. We falter, some never learn, and when you put people with so many different ideas, beliefs together there beg to be differences. Will we ever.  
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  • oil on cradle board 20 x 16 x 1.5"
    This painting was inspired by the Spring nasturtium display on view at the Isabella Stewart Gardner Museum.  
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  • oil on canvas 28 x 22 x 2"
    I believe Marilyn is some sacred symbol of a kind or a saint of unknown religion. I worked for a long time on this painting. Each time I started painting it I felt like I entered some mysterious space, though I do not know the nature of this space, Marilyn turned herself, or maybe better to say, sacrificed herself, into some eternal porcelain which never faded or into a diamond which never stopped shining.  
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  • oil on panel 9 x 9 x 2"
    Agatha Christie said, "All I needed was a steady table and a typewriter." This painting reflects that sentiment. Books, as well as objects, tell a story and have a history. This painting celebrates my admiration for the humble typewriter. They have none of today's digital distractions, like the internet or email. You are just typing, creating a unique work of art.  
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  • terracotta 12 x 9 x 8"
    This is Hamlet’s Ophelia, heartbroken. Her beloved has gone mad, accidentally killed her father, and there love affair is finished. “Get thee to a nunnery “ he thunders. Completely distraught, she drowns herself. I tried to capture her anguish.  
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  • mixed media 18 x 24"
    She reaches for my heart with her colors, inspires me to dance with her flair. I surrender to her passions in my garden looking into her stars, not a care. Inspiration for this piece came during recovery from a spinal fusion surgery. Inspiration comes first through light which I believe to be the source of all healing. Mirror, grout, paint, faux gold leaf on canvas.  
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  • blown glass, bread, resin 5 x 14 x 8"
    My current work is a documentary self-portrait as I go through pregnancy, childbirth, breastfeeding and postpartum. The multidisciplinary installation consisting of video, glass and breastmilk sculpture, as well as painting, is a direct cry of motherhood pride and fragility. In my practice I dissect, peel, slice, unveil and reorganize extreme experiences to help me process their impacts.  
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  • digital archival photograph sublimated to aluminum 16 x 24"
    The Art of Saving Venice is a photograph of the recently restored 14th c. Ca’ Sagredo Hotel, including the art installation “Support” by Lorenzo Quinn. The large hands, modeled on one of his own children, serve as a both a warning and a call to action to make a stand on climate change. Using the innocent hands of a child, he encourages humanity to care for the planet and protect our global heritage. It was the first art installation allowed in the Grand Canal in Venice.
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  • graphite drawing on Arches watercolor paper 15 x 15"
     
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  • photography 24 x 18" In this photograph my granddaughter Georgina looks transfixed out to sea. She lives with Rett syndrome a rare genetic neurological disorder that affects the way the brain develops. She is nonverbal. I do know by her calmness at the shore that she feels a sense of peace and wonder here. I want to share that with her and with you.
     
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  • mixed media 20 x 16 x 2" My goal is to present a unique mixed media work. Materials are transformed to another level. There are areas of subtlety, sometimes subtle variations of a single hue. There are also passages of intricacy and/or simplicity within the work. There is a strong interplay of color, line, texture, and form.
     
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  • oil on canvas 30 x 30 x 1.5" This is an abstract image of disjointed worlds and perhaps a left behind fragment in between universes. I've always been interested in astrophysics but with limited understanding, so I paint my ideas.
     
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  • works on paper 24 x 18 x 1" The unexpected is always a journey, and ghost prints satisfy my love of experimentation, challenge, abstraction, and recycling. This particular iridescent pearl acrylic ghost print felt 'galactic' and fragmented. Embracing this image was calming. It will be forever in my mind.
     
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  • oil on cradled wood panel 24 x 18 x 1" Painting landscape for many years, I have been drawn to water; it's movement, and reflections, and depth. This glorious sunny day on a humble pond capitvated me for all those reasons.
     
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  • oil 20 x 20 x 2" From the Invisible Women Collection: Voyeur is small to replicate the sensation of peering into a closed space. Apprehensive, yet drawn to that upstairs window, we are unable to resist the temptation of looking inside, but feel guilty for invading someone’s privacy. The figure may have gone unnoticed. Returning outside, one might see that the odd sizing of the brick exterior is both curious and uncomfortable, dreamlike in the way it feels warped from sitting in the sun. This peculiar patterning draws us down to a solitary figure looking out a darkened window below, penned in, trapped, invisible.
     
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  • mixed media on Arches oil paper 13 x 13 x 1.25" I paint military spouses who live in West Point, NY- where the United States Military Academy is located. As a proud military spouse, I became interested in the cumulative effects of this lifestyle- exploring identity erasure, community, and impermanence. My work, "Sponors' Last Four," refers to the military's organization of spouses by the last four of the active duty member's social security- instead of their names. I also developed a process that was reflective of these experiences: the chaotic and relentless cycle of breaking down and starting over. I repeatedly disrupt, redraw, and rerender figures. I intend to not only express the challenges these women face but also their beauty.
     
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  • oil on canvas 6 x 10 x 2" My inspiration for this recent piece, is my continued love of the 'Casa Colonica' in Italy. These farmhouses represent a rural life of an epoch gone by, which I find fascinating. By painting their portrait so to speak, I feel I am giving them a renewed voice and acknowledgement. I feel a connection to these massive structures. This particular view in the dark of night has a comforting feeling yet a loneliness standing in the shadows with only a half light from the moon illuminating. The stone wall in the foreground creates a presence of its own, inviting the viewer to proceed forward or warning to stay and watch from afar. Moonlight Moon is the beginning of my 'Italian Night Series.'
     
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  • ink on paper 15 x 18" The Flotsam series follows my long interest in shallow water system imagery across sculpture, painting, and drawing projects. In this work I allow each material to inform the evolution of image making. Started during a road trip in 2023 with a small kit, I began these drawings with layers of brushed-on ink that got worked over with marker which rendered a silvery, burnished surface. These quickly became a process that encouraged intuitive shape-making, and where chaos on the page came to order through a network of connections.
     
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  • ceramic 15 x 11 x 9" Taking off in a personal, fantastical, playful westernized direction, I create a "character mask" I hope worthy of those wonderful sculpted wooden masks worn by performers in both traditional energetic Japanese Kabuki theatre and dance presentations and in the more restrained Noh theatre performances. Initial inspiration transformed!
     
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  • fiberglass and resin 14.5 x 8.25 x 8.375" Vibrant Unity is inspired by the relationship that connects 2 souls who share a common path in life. Together they form a whole, It is an allegory to life in which groups of people working for a common goal project beauty, integrity and value each other. In this polarized and divided world we need empathy, kindness, tolerance and moral values to prevail by the purity of these ideals and actions, not yielding to violence, corruption or evil.
     
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  • paper, wire mesh, aluminum wire 14 x 12 x 2" Within explores the push and pull into and out of restriction vs freedom. Using wire mesh, aluminum wire, and paper, I created a series of 'almost-but-not-quite-real' gateways and spaces that could be interpreted as constrained enclosures or places of safety and shelter. My choice of the wire mesh presents a dominant texture and pattern, begging the question: is it harsh or soothing? While I try to answer this, I also invite the viewer to wander into the space and solve the mystery for themselves.
     
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  • digital archival photography 10 x 20" I am constantly amazed by nature. This reservoir is near my home upstate. There is always a photo opportunity, as things change with every passing hour and weather change.
     
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  • oil on canvas 20 x 16 x 2" This painting of a seated girl is derived from a black and white photo that I discovered on a public domain sight. I enjoyed adding color and texture to the figure's dress, the wallpaper and sofa, a using palette knife. 
     
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  • oil on board 14 x 11 x 2" Through my painting I've become attentive to the splendid drama of my everyday world. I've especially been inspired through my travels. This painting was inspired by a memory of a hot day in Tuscany. We sought shade to shelter against the afternoon sun.
     
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  • oil painting on linen 48 x 75 x 2" I am a visual storyteller, a painter of women, the sea, mysterious encounters and uncommon places. In all of my work, women are the dominant elements. My goal is not to idealize them in any way, but to portray each woman’s individuality, her power, her connection to other women and to the world. Birds, especially seabirds, have long been choreographed into my work, sometimes as companions, other times as avatars of change, growth, or escape. There is a dreamlike aspect to my paintings, a surreal confluence of elements that feels very real. In my larger work, my viewpoint is often just outside the picture plane – one more step and you feel as if you can enter the narrative of the painting.
     
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  • fused glass and enamels 12 x 10 x 2" My inspiration was to use my live figure drawings and creat them in glass using layered fused glass, powders, and enamels.
     
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  • stone sculpture 12 x 4 x 6" My recent work had consisted of abstracts and birds. But I was hankering to create another female form. The alabaster stone presented a deeply erotic natural fissure and fold formation on one side that I was completely drawn to and committed to keeping. Just as quickly, I saw a female form erupting out of the rest of the stone. I was struck by the idea of ‘the wild in us all’ and that this piece would illustrate that notion.
     
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  • acrylic, handmade paper, paper, graphite, pastel 16.6 x 20" Drawing from the live figure is an imperative part of my practice. The beauty of the female human figure never waivers. Using a figure drawing, drawn from life, an environment was created in the spirit of Matisse's odalisques. Her gaze is confident, yet sultry; exuding her confidence and power.
     
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  • oil 22 x 28" My child self looking at some joys and treasured memories of my life.
     
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  • watercolor 23 x 19" Love the power of nature. Wanted to express the energy and the force of the falling water.
     
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  • photography 24 x 28.5" Shelburne Falls, MA is famous for it's "Bridge of Flowers". I spent a whole day taking photos up and down the bridge. I couldn't wait to see what photo would impress me the most when I got home. It was the Great White Trillium. A dramatic flower with wide petals and yellow stamen. It is majestic. I felt like Georgia O'Keef painting beautiful petals with streaming yellow centers splashing into one another. That's why I named this piece of artwork, My Cup Runneth Over.
     
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  • platinum/palladium photography 11 x 14" In my art work, I capture the simple beauty in the natural environment, providing moments of serenity. I use water and light as beautiful threads that draw the eye in. The quality of light is of paramount importance, defining the textures and forms in nature, and patterns of light and shadow. This image was originally captured with infrared film; the negative was subsequently scanned and transformed into a digital negative. I then contact printed the image using the platinum/palladium printing process to capture a softer, painterly effect, evoking late 19th century idyllic landscapes and lending a poetic quality to the image.
     
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  • watercolor, marker, ink, pencil 20 x 16 x 2" The art piece, Facade, represents either being unaware or hiding a situation, condition or ailment for a long time that either threatens to bring down or squelch its host. It insists on normalcy and coping/acting as if all is fine in the face of the biggest life challenges. It could be autism, eating disorders, a congenital ailment, effects of smoking, phobias, IBS and and even acting as you are someone that deep down you don't feel as if it's who you are. The effects are exhausting and dangerous.
     
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  • watercolor 24 x 32 x 1" During the Pandemic I sketched objects around the house. Pictured are 2 figurines: an owl and a turtle. I painted many watercolor variations of these two. In the submitted painting I was inspired by the light playing on the objects, and the light coming from the objects themselves. Rotating the image achieved the desired effect!
     
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  • oil on Belgian linen 12 x 12" The apprehension of movement on abstract shapes figure predominantly in my paintings. Each individual shape is a particular motion enacted on a still substrate, in this case Belgian Linen. The stop action union of these two opposing elements, movement on stillness and the idea of their simultaneous interaction is my longtime pursuit. I wish to offer a near view of particular shapes, conversing together. I propose these conversations in a sculptural manner adding tensions of heightened light, texture and color. My pursuit concurs with my idea that motion itself as a part of life is a mysterious occurrence.
     
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  • oil 30 x 24 x 1.5" The world I encounter daily brings me in touch with the delights of colors and shapes. Rounded forms have, of late, stimulated participation in the circular movements of life – the coming round to something or spinning out of control. I bounce, roll, wobble, and delight in using color to enhance this movement and give the shapes a dynamic, often tactile, visual effect.
     
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  • photography/digitally enhanced 20 x 30 x .5"
     
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  • oil on canvas 21 x 25"
    Pensive is a painting of a lovely young woman. Captured sitting at the sweet threshold of adulthood. Her skin is soft and rosy. I used some metallic gold to reflect highlights in her hair. The fireplace stones around her are painted in earthy shades that match her natural coloring. Those surrounding stones, represent the comfort of hearth and home.  
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  • acrylic & mixed media on cradled wood panel 13.5 x 13.5"
    As an artist and a parent of four young children, trying to navigate life and love within the contexts of the larger world can be complicated. This work emotes imagery of place and time with playful and controlled shapes and color, often feeling like organizing chaos. The work reveals personalities and emotions that have conversations about shape, space and color. The act of painting itself is a metaphor for what we reveal and conceal about ourselves, moving through space and time, collecting emotions and deciding what we put on the surface and what we hide. What we know, and what we need to learn.  
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  • oil on wood panel 13.25 x 13.25 x 1.75"
    Andrea Sacker is a New York based painter working in oils, gouache and watercolor. I paint places, people and things that are dear to my heart, collecting and distilling the images mostly from my own photographs. I use my intuitive sense of color and composition to reflect my emotional relationship to the subject. I paint on linen, canvas and wood panels mostly within the satisfying limitations of a square. My paintings often reveal quiet moments that reflect my desire to counter the vicissitudes of the daily news and one's life experiences. I paint because I love the material and to express and uncover my relationship with the subject matter.  
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  • acrylic paint on a natural gourd 11 x 9 x 9"
    As a fine artist: painter and sculptor. I use concepts of abstraction, cubism, and surrealism to explore the elusive qualities of time, energy, and storytelling. My influences come from everywhere, other art forms, such as jazz music, and the directness of child art. My artistic goal is to create seductive surfaces and provocative forms that involve the viewer in an emotional visual adventure, where they discover associations and meaning. I explore unique materials and techniques and invent images and narratives from my imagination .In this work I am responding to the tumultuous times in which we live. The layer of faces, sizes and positioning are a metaphor for relationships.  
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  • acrylic 20 x 16 x 2"
    Fear of the dark and nighttime in the city often feels menacing for me. I wanted to paint a piece that reflects a city that is welcoming and friendly at night, a place we would want to be.  
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  • acrylic on canvas 24 x 20 x .5"
    The light in the Everglades is fabulous. I came across this scene just after a soaking rain but the sun was out and the trees sparkling. Magic!  
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  • oil on canvas 26 x 22 x 2"
    For the last five years I have been painting a series of portraits of the LGBTQ+ community. My main goal when painting their portraits was to achieve a likeness, but also show who the sitters are as individuals. For that purpose I asked them to choose their own clothing and ideas for the background designs. This young man was wearing his red hat when I met him on the subway. He is an actor and singer, having finished 3 years of playing the genie in the Broadway production of Aladdin.  
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  • oil 23.5 x 23.5"
    On any rainy and dreary day, one does not expect to see such joyful splashes of colors. I was drawn to the people going about their business, unaware of the colorful display they were making at this one moment in time.  
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  • sculpture in plaster, oil paint 30 x 20 x 14"
    The model for this sculpture Izzy. Arriving in NYC from the west coast, this past year. She expressed her adventure trying many artistic disciplines. Basically figuring out her journey. This pose of contemplating we have all assumed. It also has a lot of “ Power”.  
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  • oil on oil primed linen 29.75 x 26 x 1"
    Inspired by art history's paintings of artists at their easels, I made this painting of the beginning of the process of awaiting an idea or inspiration for a painting. This part of the process is magical to me and perhaps the most difficult of going from idea to committing to creating a painting of that concept. For me the process begins by turning inward.  
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  • acrylic on canvas 36 x 24 x 1.5"
    I like the ethereal quality of finding images and shapes within and behind other shapes. I find ways to find "safe passage" through the canvas, much as we all manuever through life and find our way. Life is like a puzzle and we all have to find a way to make all the pieces fit. Intuitively I convey feelings in a particular painting depending on my situation at the time..exploring the way shapes intersect in life and the way we someimes hide the obvious behind a mask. However I want the viewer to reach their own conclusions about what the symbolism may represent and decide what I may have been thinking.  
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