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-Andrea Facusse

Mixed media on rolled canvas

95” x 62”

No soy de aquí, ni soy de allá explores the emotional landscape of displacement—the feeling of belonging to multiple places while existing somewhere in between. The birds become symbols of migration, carrying stories, memories, and inherited journeys across borders and generations.

Within a vibrant, imagined environment, the figures exist neither fully rooted nor completely in flight. The surrounding patterns and organic forms reflect the layering of cultures, languages, and histories that shape identity over time. Like memory itself, the landscape is fragmented and reconstructed: familiar yet transformed, inherited yet newly created.

The work reflects on the experience of those who leave one place and build a life in another, carrying pieces of their origins while adapting to new surroundings. Through color, pattern, and symbolism, the painting embraces the complexity of belonging—not as a fixed location, but as a constantly evolving space shaped by movement, connection, and remembrance.

Oil and oil pastels on linen

80” x 53”

I created Siren as an exploration of femininity, vulnerability, and the complicated relationship between being seen and being truly understood. The woman at the center of the painting covers her face with her hands, creating a moment that feels both intimate and guarded. I was drawn to that contradiction—the desire to be seen alongside the instinct to protect parts of ourselves from being exposed.

The title Siren comes from the mythological figure traditionally portrayed as alluring, mysterious, and dangerous. I wanted to move beyond that familiar interpretation. For me, the siren represents a woman who is aware of her own power but does not need to perform it for anyone else. Her covered face becomes a form of agency. She decides what the viewer can see and what remains private.

I built this painting intuitively, allowing the image to develop through layers of oil paint, gold leaf, oil sticks, and pastels. I am drawn to the physicality of these materials—the way oil can create depth and luminosity, how gold leaf catches and reflects light, and how oil sticks and pastels allow me to draw directly into the surface. I work by adding, scraping, drawing, covering, and returning to areas of the painting until the surface begins to feel alive.

The circles, lines, and repeated marks surrounding the figure are an important part of my visual language. I use pattern almost instinctively, allowing it to create rhythm and movement while also suggesting the thoughts, memories, and emotions that surround the figure. The bright colors and dense patterns contrast with the woman's closed posture, creating an environment that feels simultaneously vibrant and overwhelming.

I did not want this painting to feel like a portrait of a particular woman. Instead, I wanted her to become a space for projection—for the viewer to bring their own understanding of vulnerability, identity, femininity, and strength to the work. Her face is hidden, but she is not diminished. In fact, her concealment gives her a sense of power.

Siren is ultimately about boundaries. It is about the parts of ourselves we choose to reveal, the parts we keep protected, and the realization that vulnerability does not always mean giving everything away. Sometimes, there is power in remaining unseen.

36”x36”, Acrylic, Paint Marker and Pens on gallery stretched canvas

This work is an abstract coral reef—an imagined underwater cosmos where memory, biology, and emotion bloom in radiant, fragile layers. It is a portrait of life in constant negotiation: vibrant, vulnerable, and interdependent.

Corals, like the forms in this piece, are both individuals and collectives. They thrive in clusters, grow slowly, and build entire worlds over time—worlds that nourish and protect. In this painting, each shape, each saturated hue, functions as a living cell in a much larger organism. Together, they form a landscape that pulses with energy, complexity, and quiet urgency.

Emerging from a black void that suggests both ocean depth and the unconscious, these forms speak to the richness of what lies beneath visibility—ancestral knowledge, biological processes, unspoken emotions. They ask us to consider what is usually unseen or overlooked, and to listen to the wisdom held in our internal reefs.

This piece reflects not only my fascination with the aesthetics of marine life, but also my reverence for the delicate systems—both ecological and emotional—that sustain us. It invites the viewer to float, drift, and submerge into a realm where science meets spirit, and color becomes a language for survival.

48” x 48”, Acrylic, paint markers, pens on gallery wrapped canvas

Break silence

Break stigmas

Break paradigms

Break taboos

Break barriers

ROAR into the void.

Acrylic on Oil Primed Linen. Rolled canvas, 70” x 85”

This painting reflects the experience of living as a woman in a world where men’s voices often take up more space. The figure is wrapped and partially concealed, not out of fear, but out of recognition — a recognition of how frequently women are spoken over, spoken for, or simply unheard. The eyes remain uncovered because even when silence is expected, women continue to witness, to understand, and to carry truth.

My statement begins with Don’t speak. It is not a request for quiet; it is an acknowledgment of how powerful a man’s words can be in a male‑centric world. His words are loud, influential, and capable of shifting dynamics, opening doors, and shaping narratives. They carry weight — sometimes so much that they overshadow the voices of women standing beside them.

This piece sits in the tension between that reality and my own desire to be seen and understood. The wrap symbolizes the ways women protect themselves, the ways we navigate spaces where our voices are not centered, and the ways we hold our truth even when it is not invited.

This artwork is about the politics of voice — about what it means to speak, to be silenced, and to be heard. It is about the weight of words in a world where some voices echo and others must fight to resonate.

36” x 36”. Spray paint, acrylic, paint markers, pens

No Soy De Aquí, Ni Soy De Allá (Original) Entre Líneas y Sombras (AI Variation, Hand‑Painted)

These two paintings tell a single story — my story. “No Soy De Aquí, Ni Soy De Allá” is the way I remember my migration from Honduras to the United States. Every bird, every pattern, every color comes from my lived experience, my cultural memory, and the feeling of existing between two homes. It is the version of my journey that only I can tell.

“Entre Líneas y Sombras” began when I uploaded my original painting into an AI model and asked it to reinterpret it. What came back was familiar but distorted — a fragmented retelling shaped by an algorithm rather than by identity. The birds remained, but their world shifted. The patterns intensified. The meaning bent. It reminded me of how migration stories often get reshaped by others, simplified, misunderstood, or filtered through systems that don’t hold our history.

By painting the AI variation onto a real canvas, I reclaim that distortion. I take a misinterpreted version of my own narrative and bring it back into my hands, turning technological fragmentation into intentional expression.

Together, these works reflect the tension of living between lines and shadows — between truth and translation, between who I am and how my story is seen.

16 × 20 Mixed Media

In El Alquimista, Andrea Facusse presents a portrait charged with transformation. The figure’s blue profile emerges from a vibrant field of red, gold, and orange, evoking the heat and volatility of an alchemical process. White highlights along the beard and hair create a sense of illumination, as though the figure is lit from within—an embodiment of insight forged through fire.

The swirling forms surrounding the head suggest a turban, a crown, or a vortex of thought, blending into an abstract background that feels both elemental and mystical. Facusse’s layered textures and expressive brushwork give the painting a sense of motion, as if the figure is caught in the act of becoming—distilling experience, emotion, and memory into something new.

El Alquimista reflects Facusse’s fascination with inner transformation. The portrait becomes a symbol of the individual who carries wisdom shaped by turbulence, someone who has moved through intensity and emerged with clarity. It is a meditation on the power of change—how identity is refined, reimagined, and reborn through the alchemy of lived experience.