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This ethcing was inspired by a doorway in Pennsylvania. The red door caught my eye with its strong patterned glasswork and unique composition. With my etchings, I typically work large and on zinc plates with nitric acid. “Passion of Freedom” was printed twice, with the other ethcing sold to a collector.

From my series of Faces from another era. I use equal liquid charcoal, charcoal, ink, graphite and acrylic paint, so it is hard to quantify which medium describes my work. The drawing of the face emerges from the surface using Chinese Ink, liquid charcoal, graphite, gold paint, acrylic and gesso on Chinese paper on canvas. The deep black of the liquid charcoal passages is a contrast with the sensitive softer graphite lines. Capturing feeling and expression with the use of line and passages of black is the essence of my work.

In 2020 our world turned upside down. My experience with Covid19 and the lockdown reoriented my approach to life and art and I explored the world of abstraction more seriously. I began studying with Nicholas Wilton, a west coast artist, taking many online courses with him. He encourages following one’s instincts and taking risks. I am attracted to the freedom, the movement, and the limitless opportunities to rearrange reality through collage. And it is also terrifying, losing control and trusting intuition. It is a never-ending process of growth and change that continues to force taking chances, feeling uncomfortable and uncertain, making, and resolving mistakes, and learning to be an effective critique.

A mixed media abstract painting, done with Golden Fluorescent neon paint, Golden Interference paint, house paint, Golden acrylic paint, graphite, Chrome markers, graphite, hand printed papers, and gold leaf. This piece shows brilliantly in black light. The inspiration for this art is love and giving voice to our convictions in difficult times.

Reverberation captures the tension and release in musical sound waves that revolve around modulating tonal centers. Delicately balanced, all-encompassing vibrations generate dissonance and tension in the audio and emotional space that ultimately lead to resolution.

I wanted to use technical skill to explore layered narrative to produce a self portrait. The drawing’s composition, with its art-within-art motif, invites viewers into a personal, almost introspective world, echoing the recursive nature of artistic creation itself. The choice to depict myself holding another artwork is a visual metaphor—it nudges viewers to consider not only how artists present themselves, but also how they value and interact with their own creations. The reflections in the glasses are particularly arresting; they not only demonstrate technical prowess with highlights and optical nuance but also gently underscore the idea of seeing—inwardly and outwardly. This motif hints at the multiplicity of perspectives an artist must hold: that of creator, subject, and observer.

Florida annually gets an influx of nutrient-laden dust from the Sahara, thousands of miles away. Usually it means red dust on my porch rails, but on this particular evening it tinted the sky. Events like this remind us of the the complexities of relationships within the natural world, and the importance to conserve and honor these systems that we are only beginning to understand.

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 mostly within the satisfying limitations of a square. During the height of covid and the 'shutdown', I unconsciously started painting the interiors of my home over and over and over. This is one such interior.

The painted constructions emerge as transmutations of my most resounding responses to the world around and within me. They are not mere representations but transformative expressions born from profound encounters with the natural world. These works memorialize instances of revelation that occur in the space between observation and understanding—ephemeral moments that would otherwise slip away unrecorded. My artistic practice weaves together accumulated experiences, approaching that sense of truth discovered only when fully immersed in the artistic elements. In these moments of complete sensory engagement—when one is simultaneously aware of nature's boundless energy, the boundaries between self and environment dissolve. This construction serves as a vessel for that transcendent understanding that emerges when the senses are fully enmeshed in the natural world. It invites viewers to access their moments of revelation through the layered, textural dialogue between material and memory. Shadows are the natural consequence of being.

I love drawing and painting people and animals where ever I happen to be ...trains, buses, waiting rooms, parks, etc. Most of my subjects don't know that I'm drawing them. I draw from life and often mix and match to create idyallic yet quirky scenes. I was walking a close family pet in the park. In my mind, she jumped up on the bench of random strangers and became family. it inspired this bucolic friendly Prospect Park image.

I love going to Green Cay Wetlands and Wakodahatchee Wetlands, too. The weather was perfect for a perfect wind blowing the plants and water. I used my camera to move as I was walking with the plants. What a lucky day for me.

Transparent watercolor reflecting the vibrance of the water and the lush vegetation on the mountain

I use stencils and masks which I have made from YUPO, a synthetic material, to use in creating monotype prints. The build up of color and pattern on the stencils/masks over time creates interest of its own which, in turn, adds an intriguing element when combined as a collage elements with my monotypes. I use a chair motif in much of my work as a metaphor for human feelings. The chair in this piece may suggest a sense of reflection or, perhaps, a journey, or something uniquely personal to the person viewing it.

I create small vessels on the wheel, manipulate them adding texture and assemble them in a vertical configuration. I have been exploring this technique which started in a small scale and now have a series of them varying their shapes from wall hanging installations to these vertical creations which vary in size, form and glazing techniques..

"Flotsam, Light Shaft in Pink" presents an abstract narrative describing debris and light bouncing around an enigmatic water environment. The term “flotsam” speaks to a sense of the lost and found. Residing somewhere between landscape, figuration, and narrative, I present landscape elements in terms of parts that are disembodied and ready for arrangement. I like to play with their formal relationships, to jostle any sense of fixed placement. Forms that we might recognize as either shadow or structure become at once horizontal and vertical as they share the painted plane. A leaf can be both a figure in the landscape and a signal about decay. Shape becomes the result of withheld paint as well as applied.

I experiment with various acrylic paints, gels, fiber pastes, mica flakes, charcoal, found/recycled items, and most recently water-based oil paints. I do not use digital art as I enjoy using my hands in a painterly manner, like a gardener putting her hands in the Earth’s soil. I use these materials as most are water based and kinder to our planet. The emotional base of my work are the environmental challenges we face. My never-ending ideas come from news reports, science-based books and native culture tradition and stories.

Given the state of our world, I wanted to paint an Icon of hope. For me in my life hope comes often from my garden, and I was thrilled when I realized that two denizens of my garden, Swallows and Artichokes, are traditionally conceived as symbolic of hope. Swallows (Hirundo Rustica) carry the spirits of deceased children giving ease to grieving parents, and the tender-hearted Artichokes have long been symbols of prosperity and hope. I wanted to show how these beings, especially the swallows, bring treasure and beauty into my garden and take what they find there back out into the world. Giving and gaining, stitching the realms together. So, I split the image into two reflections and made the painting convertible. Hung one way the Swallows are incoming and hung the opposite way they are dispersing.