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April 15, 2025

Talbot Spy

Nonpartisan Education-based News for Talbot County Community

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Not in Kansas Anymore: Inside the Healing Vision of Lotus Oncology and Hematology

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Dr. Roopa Gupta

Just as with Dorothy when she reached the Land of Oz and said, “We’re not in Kansas anymore,”—that’s the feeling you get opening the door of Lotus Oncology and Hematology. This is not your typical doctor’s office. And that’s precisely what Dr. Roopa Gupta wants it to be. 

Forget the sterile white walls, humming fluorescents, and anxiety-inducing, plastic-seated waiting rooms. In their place: a soft gurgle from a water fountain, sunlight pouring across floor-to-ceiling floral panels, plush sofas you sink into, and earthy colors that settle the nervous system. It’s a space that lets your shoulders drop the moment you walk in.

“I wanted to create a healing environment,” Dr. Gupta says, “not just a medical one. We offer the best, most current care, but in a space that reflects dignity, beauty, and transformation.”

The name “Lotus” wasn’t a branding choice—it was personal. “The lotus blooms beautifully from murky waters,” she says. “It stands for rebirth, resilience, and rising above hard things. That’s the journey cancer patients are on. I wanted them to remember they’re not the diagnosis—they’re the flower.”

Dr. Gupta’s path to this moment started with internal medicine and then moved into oncology, though it wasn’t a straight shot. “I wasn’t sure at first,” she said. “I’m deeply sensitive—an empath—and wondered if this work would be too much to carry.” However, the more time she spent with patients, the more the work felt like home. “Every year into this field confirmed it—this is what I was meant to do.”

Lotus opened with a clear mission: treat the person, not just the illness. That starts with time—sometimes hours—for a first appointment. “It’s not just about the cancer,” she says. “It’s about what the person is carrying—what they’re afraid of, what their life looks like, what they need.”

She also brings in integrative therapies backed by research: Acupuncture, yoga, reiki, nutrition support, massage therapy, and reflexology. “Wellness Wednesdays” offers breathwork, sound therapy, and art therapy, with plans to add music, mental health support, and even pet therapy. “We’re working with people in the community to bring this all together,” Dr. Gupta says. “It’s not extra. It’s essential.”

But the heart of Lotus isn’t the services. It’s the people who fill the space with presence.

Brianna Timm, one of the nurses on staff, says the difference is immediate. “Even if someone is terrified when they walk in here, they start to feel like—okay, maybe I can do this.”

Timm would know, having worked in different kinds of healthcare settings. She said this one felt different. “They’re not just going through the motions or waiting for it to be over. They’re present. And because we’re sincere with them, they believe us when we say we’re in it with them. This becomes a healing environment. It’s not a second home, exactly—but it’s a place they feel safe.”

“I’ve seen it happen,” she adds. “The first time, someone might notice one small good thing. Next visit, they see more. And before long, this space, these people—we’re part of their journey.”

That idea—of being part of something shared—is woven into everything Lotus does. “We want patients to feel heard, seen, touched. We listen. We validate their questions. And then we move forward, together,” Dr. Gupta says.

It’s a group effort. Nurse Lindsey Corkran says, “I’m honored to be part of such a loving and supportive team. Everyone here works with genuine care and diligence to ensure each patient receives the best possible treatment. I see amazing things happen every day—for a place that handles such serious and sometimes heavy issues, there’s an incredible amount of laughter, warmth, and life here. I think it’s wonderful for our community to have Lotus as an option for their healthcare.”

Moments of joy—like a husband reclining in a surprise lounge chair during his wife’s infusion or a patient ringing the treatment bell after realizing the whole team, including Dr. Gupta, came out to witness it—are small, but they matter.

“That was one of my first weeks here,” Timm says of the bell-ringing. “He was hesitant at first. But when he saw Dr. Gupta walk out to see him do it, he smiled, stepped up, and rang it three times. Big, clear rings. He knew that moment mattered to all of us.” These gestures aren’t just nice. They build trust, especially in a region where healthcare access can be complex and confusing. 

That kind of trust is earned—through honest conversations, familiar faces, and, sometimes, a phone call answered by the doctor herself. “We don’t have layers and layers of separation here,” Dr. Gupta says. “We’re accessible. We’re human.”

And humanity, she says, is the whole point. “We’ve desensitized ourselves in so many ways,” she says. “Everyone’s on a screen. Everyone’s scheduled. We’ve forgotten how to just connect. I wanted this to feel like that old village doctor’s office, where someone could walk in and say, ‘Can you take a look at this?’ without being told to book an appointment for two weeks from now.”

Nature plays a role, too. The office looks out on a pond with ducks and birds. Dr. Gupta’s daughter brings duck food. “It sounds small,” Timm says, “but even seeing the natural light makes a difference. At my last job, there were no windows. None. Here, a squirrel runs by, or a bird lands outside, and you catch yourself smiling.”

Dr. Gupta remembers how the office space they originally planned on fell through—and how devastated she was. “But now? This is where we were supposed to be,” she says. “The sun comes right through those east-facing windows. Sometimes, I sit in the waiting room at the end of the day with a cup of coffee and just breathe it in.”

She remembered walking out to the waiting room, where a patient’s wife was reading quietly in that very room, sunlight pooling around her. “I thought, this is what I wanted. That you feel at home and carry that hope with you.”

Dr. Gupta, too, has hopes. “The science is amazing right now. Treatments have gotten so much better—especially for breast, colon, and lung cancers. But now we need to get that medicine to those who need it. Insurance and access are still big hurdles.” She wants more advocacy and better policy. “Science has done its part. It’s time for the system to catch up.”

In the meantime, she and her team do what they can, one patient at a time. “This work doesn’t drain me,” she says. “It fuels me.”

At home in Oxford, she recharges by walking, meditating, cooking, and reading in what she calls “the most beautiful park in the world.” Her daughter, nine years old, recently started leaving sticky notes in the office that read “Dr. Gupta, Jr.” A subtle nudge, perhaps.

“This isn’t just my dream,” Dr. Gupta says. “It’s Brianna’s. It’s Lindsey’s. It’s all of ours. And it’s still unfolding.”

Lotus Oncology and Hematology is located at 401 Purdy St., Suite 102, Easton, Maryland. 410-505-8948

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Earth Music: Two Painters, One Song

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Long Reach Farm by Larry Horowitz

What if the earth could sing—and we stopped to listen?

That’s the idea behind Earth Music, a new exhibit opening April 4 at Spiralis Gallery in Easton. It combines the work of Dane Tilghman and Larry Horowitz—two painters with very different styles and backgrounds but with something in common—a shared connection to land, memory, and story.

Tilghman’s paintings often focus on the African American experience, pulling from the visual language of the Harlem Renaissance, blues and jazz, and old black-and-white photos. Horowitz paints landscapes—vivid, textured, and full of feeling. Spiralis Gallery owner Gail Patterson saw a kind of thread running through their work: not the same stories, but the same quiet force.

“I think the show—Earth Music—speaks volumes about how and what the earth could tell us if we listened,” said Patterson. “Joys and sorrows, beauty and horrors, history both known and silent, from both of their perspectives and brushes.”

When asked what Earth Music meant to him, Tilghman said. “I believe the earth definitely has a rhythm. “It’s a spiritual rhythm, I believe, also a very cultural rhythm, for sure.”

Horowitz came at it from another angle but landed in a similar place. “I’m very sensitive to the tides, the wind, the earth, nature, animals, birds—everything influences me when I’m out there and doing my painting,” he said. “So for me, ‘rhythm of the land’ is sort of my mantra. You might say it’s what I’m after when I paint.”

Patterson called the pairing “serendipitous… kind of ‘spiralis’-like,”—referring to the gallery’s name and the idea of things moving in a spiral formation. “Sometimes we’re close, and sometimes we collide in ways we don’t see,” she said.

That concept is alive in this exhibit and the artists, but, as Tilghman noted, both are rooted in something deeper. “I’m painting people,” he said. “Larry’s painting landscapes. But those people—I’m sure, have passed through those same landscapes. That’s the bridge, right there. I’m working from old black-and-white photos, and a lot of those folks are long gone. But they were there.”

Horowitz looked at it from the painter’s side. “A painting is made up of wooden stretchers, bars, linen canvas, hemp paint—all inanimate objects,” he said. “We take these physical things, and we manipulate them with shapes, tones, colors, and we make this inanimate art have a heartbeat. It becomes something much greater than the sum of its parts. And I think that’s what connects both of us.”

3 Boys and a Wagon Dane by Dane Tilghman

For Patterson, it wasn’t about finding two artists who do the same thing—it was about finding two who evoke the same response. “There was a commonality in the work for me as a collector and as a gallerist,” she said. “Both Dane and Larry’s work are highly evocative for me. I look at the landscapes Larry paints, and I can close my eyes and imagine the light changing, the leaves falling, and the breeze. I can feel who and what might have passed—person, raccoon, deer—through that landscape. Who might have been on that boat?”

Of one of Tilghman’s pieces, the Oyster Tonger, she said. “I look at him and wonder: is he out there because he wants to be, or because he has to be?”

“There’s a story in both of their work,” she said of the artists. “That’s what pulled me in.”

Horowitz talked about how painting, for him, isn’t just about a moment—it’s about the accumulation of moments. “I think of the Impressionists,” he said. “They tried to go after a moment in time. I paint the passage of time. While the painting is being painted—let’s say en plein air—the sky changes. A bird flies by. Someone walks into my picture plane. I put them in. Dane also is painting, in a way, the passage of time.”

Tilghman agreed that his work often highlights people history tends to overlook. “My philosophy is that these particular people might not be important in life now, but they were important to somebody,” he said. “So I want to honor their existence on earth.”

That presence shows in the work and in Patterson’s description of Tilghman’s Two in a Field. “It has almost a vague impressionist quality. It’s not exactly strictly figurative, like photographic. On the first pass, I think, my Lord, this is just beautiful. The colors speak to me,” she said. “And then I look deeper, and I realize it’s two Black Americans in times of enslavement, picking cotton with the cotton sacks trailing out behind them. I had to pause when I looked at that piece because it made me think—why was I experiencing such a beautiful feeling from something that was such a horror for our country?”

But that’s what makes interesting art, she said—the fact that it is story-driven, for instance, in Horowitz’s painting South Carolina Sunrise. “There are boats. And I wonder—did they just go out? Are they coming back? Who’s on board? What’s the story?”

Horowitz agreed. A painting is almost like an onion,” he said. “You look at it, and you might get that first facial reaction. Hopefully you fall in love—you separate yourself from the distresses of life. But then you bring it home, or you go back to look at it again in the museum or the gallery, and your mood changes. The world changes. We keep peeling those layers of the onion off.”

He added, “And I think it’s very true in Dane’s work, especially. Yes, he’s painting something from the past. Someone might see it as beautiful, decorative shapes and colors. But there’s just so much to it. There’s so much that Dane has put into it and so much that the viewer can bring to it. It’s not what you put in a painting—it’s what you leave out that’s so important.”

Tilghman said he hopes his paintings keep telling their own story long after they’re hung on a wall. “It should make me smile,” he said. “So it’s an eternal piece.”

Earth Music, then, is about stories. Not just art you look at, but art that asks you to stop—and listen.

The show opens with a meet-the-artists reception on April 4 and 5, from 5 to 7 p.m., at Spiralis Gallery in Easton. It runs through the end of April. Spiralis is located at 35 Dover St in Easton.

 

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Promises kept: Tom Ryan’s Mission to save Feral Cats

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“Want to help me feed some cats?” As an animal lover, there was only one answer: “Hell, yeah!”

And that’s how I ended up standing next to Tom Ryan—a man whose very name feels like he was destined to run Tom Cat Solution, a feral cat rescue organization.

It was a chilly morning when we arrived at one of the colonies. We had to do so quietly as the cats knew the sound of his car and came running from all directions to greet him. “It’s like being the Pied Piper,” he said. “I’m sure people look at me and wonder why I’ve got six or eight cats wrapped around my ankles.”

He introduced them to me, calling them by name and describing their personalities, bending down to give those brave enough a pet on the head. “This is Mark,” he pointed. “He’s one of our senior ones.” “Are you being a good girl?” he asked another, as she rubbed against his ankles.

While feeding them, Tom talked about how this particular colony had, at one time, approximately 55 cats, now down to 13. After spending some time with them and saying goodbye, we moved on to a smaller colony, where only one beautiful black cat was brave or hungry enough to come out with a stranger in their midst.

As we drove, I had to know: has he always done this? Tom laughed. Not quite. He is actually a retired aeronautic engineer. But for the past decade, his mission has been all about saving lives—specifically, the lives of thousands of feral cats across the Eastern Shore. His impact? He’s facilitated the care of over 8,500 cats (and counting) and has been responsible for the spay/neuter of over 5300 cats. His daily routine? A never-ending cycle of feeding, trapping, neutering, returning (TNR), rehoming, and, when needed, providing sanctuary to the cats who have no one else.

But Tom isn’t just rescuing cats—he’s built a lifeline for them. Alongside his wife, Teri (a veterinarian), and a small but dedicated group of volunteers, he has created a system that ensures feral cats survive and are genuinely cared for.

Founded in 2010, Tom Cat Solution was born not from a grand plan but out of sheer necessity.” When Talbot Humane shut down its TNR program, it left an entire community of feral cats without help. Tom, with a passionate group of volunteers, refused to let that happen. So, they took action, and what started as a response to bureaucratic decisions soon transformed into a full-fledged rescue mission.


But it’s not just a commitment to the cats that keeps him going. One promise he made years ago still stays with him. It was to an older man who had spent years feeding a colony before he passed away. “I told him I’d take care of them, he said, “And that’s what I do, every single day.” That promise isn’t just a sentimental gesture—it’s a way of life.

Today, Tom Cat Solution manages multiple cat colonies where feral cats have made their home for years. Running the organization means that vacations and sicknesses are a luxury Tom simply can’t afford. Every single day, without fail, he makes his rounds—feeding and checking on the colonies, coordinating medical care, responding to frantic calls from people overwhelmed by unexpected litters or strays that show up under their porches, setting up cameras, setting up traps, looking for lost cats, or finding homes for those that can be socialized. The work is too important, and the responsibility is too heavy. Even if he wanted to step away, who would take his place?

Not that his work is free from debate. TNR is a controversial method of controlling the feral cat population. Conservationists argue that outdoor cats threaten local birds and small mammal species. Tom understands the concern, but he’s quick to shift the conversation to the real issue:

“These cats didn’t just appear,” he said. “They’re here because people didn’t spay or neuter their pets. They moved away and left them behind. And now, we’re just trying to manage the damage already done.” To him, TNR is the most humane solution—preventing suffering while minimizing long-term environmental impact.

The results speak for themselves, and colony populations have steadily declined. Unfortunately, over time, the number of volunteers has also dwindled—one emotionally exhausted, others forced to step away due to moving out of the area, age, or health reasons. That leaves a very small handful of people to do the work. “It’s exhausting,” Tom said, “but necessary. Many of these cats wouldn’t stand a chance if we weren’t here.”

Beyond exhaustive, it can also be heartbreaking. Some cases haunt him, but they also fuel his resolve. He talked about Maurice, the ‘big daddy of the Talbot Trailer Park’ who was left behind when the Park closed down. “I searched for him for days,” Tom said. “When he finally showed up, he walked up and pressed against me. He was ready to leave.” Tom took him home, and in his final weeks, Maurice knew warmth, comfort, and love again—no longer forced to fight for survival. It’s moments like that—moments when a cat recognizes that someone finally cares—that keep Tom going.

Despite the incredible work Tom and his volunteers do, keeping Tom Cat Solution running is a huge financial drain. The organization survives largely on endowments and private donations. One generous contribution from a late friend of Teri’s and another recent large donation have helped create an endowment that will hopefully sustain them for a bit more.

Still, the day-to-day costs remain staggering. Tom estimates they spend at least $1,000 on cat food every month. This does not include medical expenses like spay/neuter surgeries, dental work, and emergency care. “When you know you can help those who are in pain, you realize you just have to make it work.”

However, for Tom, the biggest challenge is the future.

“I could be dead in five years,” he said bluntly. “Teri can’t do this on her own. We will have to pull people in and find someone who can pick up the charter for what Tom Cat is doing. The endowment should last at a certain level for a long time, but who will do the work?”

He’s already seen the problem firsthand. The core volunteers are aging and younger people, while willing to help in small ways, rarely want to take on the grueling work. “I’ve had people ask, ‘Can I help?’ And I say, ‘Well, can you get up at two in the morning to trap cats?’ And suddenly, that’s not what they meant,” Tom said. “Maybe they’ll scoop litter boxes, which is great, but we need more than that.”

Because of this commitment, many see Tom as a hero. But for him, it isn’t about glory—it’s about responsibility. “I made a commitment,” he said. “And once you commit, you follow through.” It’s a philosophy that has shaped his life—first as an aerospace engineer and now as a relentless cat rescuer. His mind is always calculating, problem-solving, and looking for the most effective way forward.

And to Tom, the solution is simple: Keep going. Keep feeding. Keep fixing. Keep saving.

For Tom, there has never been another option.

Please go here for more information http://www.tomcatsolutionsonline.org

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

The Subversive Thread: Redefining craft and fine art at the Academy Art Museum

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By now, everyone has heard about/been to/or plans to see the outstanding Bugatti exhibit at the Academy Art Museum (AAM) in Easton. But while there or returning for another visit, venture down the hall to the other amazing and groundbreaking show, The Subversive Thread, an exhibit that challenges the boundary between fine art and craft.  Curated by AAM’s Deputy Director, Jennifer Chrzanowski, this initiative aligns with AAM’s mission to explore new avenues of artistic expression and foster conversations that resonate far beyond its walls.

The Subversive Thread is more than just an exhibit; it’s a statement. As described in the Museum’s catalog, this exhibit was organized in conjunction with the Museum’s 27th Annual Craft Show and represents a pioneering effort for AAM to elevate contemporary craft as a serious artistic medium. Showcasing the works of four innovative artists—Han Cao, Jennifer McBrien, Michael-Birch Pierce, and Stacey Lee Weber— Chrzanowski has created a space that pushes the boundaries of what craft can represent.

Stacey Lee Weber

“I’ve been organizing the craft show here for seven years,” Chrzanowski said. “While my background is in photography and contemporary art, working on the craft show introduced me to fine craft in a genuinely exciting way. The idea for this exhibit grew from realizing that while we have this incredible craft show, we were missing exhibitions that truly highlight fine craft.”

This realization led Chrzanowski to propose the idea of an embroidery-focused exhibit. She initially pitched the concept to the Westobou Gallery in Augusta, Georgia, which provided a stipend and a platform for her to test the idea. The overwhelmingly positive response there confirmed what she had suspected: the time was right to bring such an exhibition to Easton.

 

Each artist in The Subversive Thread contributes a unique perspective, subverting traditional boundaries in fiber and thread art in their own way by using unconventional textiles and techniques. For instance, Stacey Lee Weber’s work revolves around American currency. Using uncut bills, Weber creates intricate embroideries that challenge notions of value and representation. “Her work is technically illegal,” Chrzanowski said, referring to laws against defacing currency. “But by using thread through actual American money, she invites viewers to question the symbols of capitalism and commerce.”

Michael-Birch Pierce’s work explores identity and deception. A standout piece is the triptych of drag queen portraits, which transitions from fully made-up faces to dissolving beadwork. “It’s about stripping away the artifice,” Chrzanowski said. “Without the makeup and the layers of performance, what remains? Their work challenges us to think about authenticity and the roles we play.”

Michael-Birch Pierce

Artist Jennifer McBrien explores themes of conservation and fragility. Her “Hanging Them Out to Dry” installation features endangered birds embroidered on vintage handkerchiefs (some of them stained), hung on a clothesline. The piece feels both nostalgic and sad. “Jennifer is using this medium of the vintage handkerchief—something you would use, wash, and reuse—but that’s become extinct like these birds. And she has them in order, like the most endangered to the least endangered.” Chrzanowski said. The same ideas are present in McBrien’s “Warrior Women.” Part bird and part woman, the hybrid forms also symbolize loss and resilience. “She created these fighting figures during her cancer treatment, and her female forms carry medicinal herbs in their bellies, symbolizing the medicine she used during her healing.”

Han Cao rounds out the exhibit with her quirky work. She creates her visions using photographs and postcards found at flea markets and antique shops across the globe, hand embroidering directly on the original image. Cao seems to ask the viewers to reflect on memory, humor, and the passage of time. 

Jennifer McBrien

The interaction of traditional techniques with contemporary materials and themes is central to the exhibit’s impact. “Craft has historically been viewed as separate from fine art,” Chrzanowski said. “But we’re at a fascinating moment where those boundaries are blurring. Artists are revisiting traditional techniques like embroidery and quilting but using them to tackle very modern issues. This exhibit is a snapshot of that evolution.”

The Subversive Thread‘s themes, which range from identity and labor to capitalism and environmentalism, reveal the versatility and relevance of fiber and thread art. “For a long time, craft was relegated to the status of a pastime,” Chrzanowski said. “But now we’re seeing it evolve into something that can carry powerful messages and provoke thought in ways that are incredibly accessible.”

Accessibility is a key takeaway for Chrzanowski. “One of the things I love about this exhibit is how it bridges the gap between high art and something people can relate to,” she said. “Many people embroider, knit, or craft at home as a way to unwind. This exhibit elevates those practices, showing that they can be just as impactful and meaningful as traditional fine art.”

Han Cao

The community’s response to The Subversive Thread has been overwhelmingly positive. “When the exhibit was in Georgia, I couldn’t see the audience’s reactions firsthand. But here in Easton, I’ve had the chance to overhear people talking about how much they love it. That’s the most rewarding part for me—knowing we’ve brought something new and exciting to the area,” Chrzanowski said.

This exhibit also represents a shift for the Academy Art Museum itself. Historically, the craft show has been a separate program, distinct from the Museum’s exhibition calendar. The Subversive Thread changes that dynamic by integrating a craft-based show into the Museum’s broader programming. “Our goal is to make the craft show feel like more than just an event,” Chrzanowski said. “With this exhibit, it becomes part of a unified project that highlights the depth and diversity of craft.”

This exhibit could be just the beginning. “We want to showcase the innovation happening in current craft practices and continue fostering conversations about how craft and fine art intersect,” Chrzanowski said

The Subversive Thread invites visitors to see craft in a new light. As Chrzanowski put it, “I want people to leave feeling inspired, not just by the work in the exhibit but by the potential in their own creative pursuits. Craft is accessible. It’s something you can take away and do at home. And that’s a powerful message.”

The Subversive Thread runs now through March 30th at the Academy Art Museum (https://academyartmuseum.org)  

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

The Water’s Edge Museum marks four years of Black history and community

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Kay Brown, Assistant Director

The Water’s Edge Museum (WEM) in Oxford, Maryland, is gearing up to celebrate its fourth anniversary on Saturday, February 1, from 1 to 3 p.m. This milestone marks its unique place as Talbot County’s first African American museum and the first on the Eastern Shore directed by a woman of African descent. The event promises to be both a celebration of history and a tribute to the community’s roots.

 “This year, our anniversary falls on the first day of Black History Month, and it felt like the perfect moment to honor everything we’ve accomplished,” said Assistant Director Kay Brown. “When we realized it coincided with our anniversary, it was like a sign to make it even more special.”

The day will feature a performance by Leroy Potter and the Maryland Spirituals Initiative, honoring the history of the Black community and paying tribute to Miss Tish Moaney. Miss Tish, the beloved matriarch of Oxford’s Waters Church and a founding museum member, recently passed away. “Miss Tish was here for the museum’s opening,” Brown said. “Her legacy is a big part of our story, and we want to celebrate her life as part of this event.”

As part of the program, a short video will also feature Miss Tish’s singing, paired with spirituals from the museum’s collection. Her music and the Maryland Spirituals Initiative’s presentation will echo the themes found in the museum’s collection of works by artist Ruth Starr Rose, whose paintings capture the lives and traditions of the African American communities on the Eastern Shore. “Those spiritual songs were so integral to Ruth Starr Rose’s work and the community she painted,” Brown said. “It all ties together beautifully.” 

To Brown, who grew up listening to gospel, these songs are also a powerful way to connect with others. “Gospel music keeps me grounded,” she said. “It’s part of who I am, and I know it resonates with others too.”

The event will feature a talk by Commissioner Eleanor Thompson. Humble Hearts Island, a local Black-owned business, will provide refreshments. “It’ll be a nice chance for people to mingle and enjoy some good food while they’re here,” Brown said. 

Guests will be able to tour the museum and see its latest interactive exhibits, which were designed to engage visitors of all ages. “When you can touch and experience history, it sticks with you,” said Brown. Features like mapping visuals and textured displays will help bring the stories of the past to life.

That focus on connection is central to the museum’s mission, shaping the event’s planning process. Brown and her team wanted guests to feel like they were part of the experience. “It’s not just about reading facts on a wall,” she said. “We want people to feel the history, to see themselves in it, and to understand how it’s shaped their lives today.”

For Barbara Paca, WEM’s founder, the Museum has come a long way in its short history. “When you enter, you immediately know you are in a special place,” she said. “Oil paintings of founding Black families line the walls, and the curation, which is constantly changing thanks to the talented youthful leadership there, creates an engaging experience for everyone. Everyone leaves The Water’s Edge feeling happy—and as though someone has shown a light on a beautiful miracle of history that happened against all odds on the beautiful Eastern Shore of Maryland.”

Raising awareness about the museum being part of the community is a top priority for the leadership. “We want people to know we’re here,” Brown said. “There are so many stories to share, not just from Talbot County but across the Eastern Shore. This museum honors those stories.” 

And Brown wants more: She encourages people to dig out old photos and memorabilia. “We need to save these memories before they’re gone,” she said. “I’m lucky to have photos from my own family, and I want others to have the same opportunity.”

With this type of enthusiasm, Paca is equally excited about her Assistant Director, “The Water’s Edge Museum is noted as the first museum on Maryland’s Eastern Shore to engage a director of African descent and has continued that tradition to date.”  

The feeling is mutual. Brown is excited about her role, describing it as a groundbreaking opportunity and a profoundly personal journey. “It’s been life-changing for me,” Brown said. “The connections I’ve made, the people I’ve met—it’s amazing. This is more than a job; it’s a passion.”

As for the future, the Water’s Edge Museum is planning more events to connect with the community. A movie night featuring Hidden Figures is on the February calendar. “It’s a great way for families to come together and learn about Black history,” Brown said.

The museum has also been working with local schools to integrate its exhibits into educational programs. “Getting kids involved is so important,” Brown said. “When they come here, they’re not just learning—they’re experiencing history. It’s something they’ll carry with them.” Like the new mapping project, interactive exhibits aim to bring these stories to life for younger audiences.

“Community partnerships, which continue to play a vital role in the museum’s success, are also an important extension of its efforts.” Brown highlighted collaborations with other local organizations, including churches and historical societies, which have helped expand the museum’s reach. “It’s all about working together,” she said. “We’re stronger when we support each other.”

The anniversary celebration offers a perfect introduction for those who may not have visited the Water’s Edge Museum. “This is a chance to see what we’re all about,” Brown said. “We’re proud of what we’ve built, and we’re excited to share it with everyone.” She looks forward to welcoming the community. “We’re ready,” she said. “This museum is about history, connection, and celebration. We want everyone to feel that when they visit.” 

The event is free and open to the public, but RSVPs are encouraged to ensure enough refreshments for everyone. For more information or to RSVP, visit https://www.watersedgemuseum.org or follow them on social media. Whether you come for the music, the stories, or the sense of community, this celebration is a meaningful way to honor the past and look to the future.

 

 

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Capturing a life in focus with Ruth Wittersgreen

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It’s hard to pin down Ruth Wittersgreen, but perhaps that’s the point. In her sun-drenched gallery/office on the third floor of Easton’s Daylight Building at 5 East Dover, walls, hallways, and panels are adorned with the vibrant echoes of her life—wildlife photography. It’s a space that reflects not just her art but also the layered complexity of her career as a clinical psychologist, a balance she maintains with precision and purpose.

Wittersgreen’s journey to Easton has been anything but linear. Born in rural Tennessee to young parents, her love for nature was nurtured early, as she spent weekends tramping through the woods with her parents. “They taught me to be quiet and observant,” she said. “It was like learning a sport at a young age—it becomes second nature.”

That natural instinct stayed with her, even as life led her through a stint in the Air Force, a doctorate in psychology, and years spent building a (still) thriving practice in Washington, D.C. “I joined the reserves during my doctorate because I knew I needed a way to support myself. Of course, that meant that, at times, I needed to be on duty when my classmates were able to study” she said.  That time in the military gave her a global perspective that she uses in her photography, from snowy swans in Germany to travels in Japan. It also left an indelible mark on her career as a therapist. “I treat a lot of PTSD,” she says. “My Air Force unit had many Gulf War veterans, and hearing their stories was formative.”

A solid interest in photography, though, came much later—almost by accident. In 2017, while camping in Shenandoah National Park, she saw seven bears, an owl, and countless deer with only an old phone to capture the moment. “I realized I needed a real camera,” she said. That realization grew into a passion during a trip out west to Yellowstone and the Tetons, where she began photographing wildlife. By the time she visited California later that year, her love for the craft was cemented. “I went to a monarch butterfly grove while my daughter was at a college interview. It was like a switch flipped—I was hooked,” she said.

Her move to Easton was similarly serendipitous. A lifelong affinity for the Eastern Shore’s wildlife refuges brought her and her husband to the area often, but it wasn’t until 2023 that they visited Easton itself. “We stayed at the Tidewater Inn for our anniversary,” she says. “By the next morning, we were already looking at houses.” Within months, they’d moved to Easton, where Ruth set up her dual practice and gallery.

The gallery is as much a personal sanctuary as it is a business. “When I see these photos, I’m immediately transported back to those moments-moments she’s only happy to share,” Wittersgreen said, pointing to a puffin perched on a cliffside. “That was one of the most thrilling—and terrifying—experiences of my life. I was belly-crawling to the edge of a stormy cliff in Iceland, wind howling, camera in hand.” Each piece holds a story, from close encounters with moose to tranquil moments with migratory birds at Blackwater and Bombay Hook.

But Wittersgreen’s photography isn’t just about reliving memories; it’s about sharing them. “I worried whether other people would feel what I feel when they see these images, but the response has been amazing,” she said. Her work will be featured at Plates at 208 in St. Michaels and can currently be seen at The Ivy in Easton. More local venues have expressed interest. She’s also sold numerous pieces from her gallery, though she remains pragmatic. “I don’t do this expecting it to be profitable. I do it because I love it,” she said.

Ruth Wittersgreen

That love is evident in how she talks about her subjects, which range from crickets to horses and all the creatures in between. Wittersgreen credits a vision issue that prevents her from using binoculars, giving her a unique perspective. “I’ve always seen things others don’t,” she said. “Even guides tell me I spot details they’d miss.” Her therapeutic work, too, has informed her artistic eye. “There’s incredible healing power in nature,” she says. “Research shows that even looking at nature scenes can calm the mind and body. That’s why I started putting my photos on my consulting room walls.”

Her dual roles as therapist and artist feed into each other in unexpected ways. “I’m an introvert who’s learned to be extroverted when needed,” she said. “Photography recharges me. It slows me down and lets me notice the details.” She recalled her decade of trail running as a precursor to her photography, when she would stop mid-run to take pictures with her phone. “That was my therapy, my way of being alone and in nature,” she said.

When asked what’s next, Ruth smiles. “It’s all happened so fast” she says. “I’ve always dreamed of having a gallery, but I didn’t expect it to happen this soon. I’m growing, learning to let go, & I’ve given up on much planning with this and am trying to not over- plan, just see where it takes me.” Upcoming projects include a February trip to Colombia, where she’ll photograph the Sierra Nevada and Tayrona National Parks. 

In her gallery, surrounded by moments of awe and wonder, Ruth Wittersgreen seems perfectly at home. Whether through her lens or in her therapy sessions, she continues to capture the beauty and resilience of the human and natural worlds—one image, one story, and one person at a time.

For more information about Ruth and her work please go here.

 

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Taking flight? Will Delmarva Review come in for a landing?

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It’s hard to imagine the Delmarva Review ever having trouble finding writers eager to submit their work. However, in 2007, when the Eastern Shore Writers Association was a small group of about 12 members, its modest membership publication wasn’t exactly on the national radar. That is until Wilson Wyatt came along.

Wyatt, a writer, photographer, and former senior corporate communications officer was president of the Association at the time. For someone who once taught writing to corporate marketing teams filled with Ivy League graduates—“people who were brilliant but didn’t know how to write,” he said—the elements of strong writing have always been central to his life. When he moved to Maryland’s Eastern Shore, Wyatt sought out a thriving literary community, but what he found was something in need of nurturing.

“The Eastern Shore Writers Association had 12 members,” Wyatt said. “I thought, well, there must be some good writing here. And there was. People were looking for community, for connection. It just wasn’t very organized.”

Under his leadership, the membership grew to over 200 in two years. At the same time, Wyatt, who had also taken on responsibilities with the Bay to Ocean Writers Conference, started asking bigger questions about the ESWA’s membership publication: Why keep it small? Why not open it up to writers beyond the region and make it truly competitive?

Wyatt conducted a survey asking if members would support transforming the publication into an open, national literary journal—one that would accept submissions from anywhere, not just members. 96% of the members agreed.

“People didn’t want to submit their best work to a publication that would never be seen beyond the group,” Wyatt said. “They wanted something competitive, something with value. So that’s how Delmarva Review was born.”

Today, the Delmarva Review is regarded as a national literary achievement. What began with 200 submissions for its first issue has now grown to an annual flood of 4,000-6,000 entries from around the world—47 states, 19 countries, and counting. Since its inception, the journal has published work from 550 writers, dozens of whom have gone on to earn Pushcart Prize nominations and other accolades.

Wilson Wyatt

Still, Wyatt is the first to admit that Delmarva Review often has to overcome the perception of being a regional publication.

“We hear it all the time—‘Oh, that’s a regional journal.’ And I always have to explain: It’s not. Yes, the name reflects where we’re based, but our reach is global,” Wyatt said. “Interestingly, though, if you’re a writer from this area, you have a better statistical chance of being published here. If you’re deciding between the Georgia Review and the Delmarva Review, you’ve got a better shot with us—and we’re still publishing at a national level of quality.”

That focus on quality—and a strict adherence to the Delmarva Review’s mission—sets it apart. Every year, thousands of submissions are whittled down to around 60-70 pieces, each read and vetted multiple times by the journal’s volunteer editors.

“The secret is the quality of writing,” Wyatt said. “We stick to the mission of publishing the best work we receive, even if it means saying no to friends or familiar names. We’ve also published many authors for the very first time, which is equally exciting.”

One such author is Maxine Poe-Jensen, a St. Michaels High School senior and the first  Delmarva Review’sYouth Writing Mentorship and Scholarship Award recipient. Her fictional short story, E Duo Unum, was featured in the journal’s 15th edition.

“It’s a rare opportunity for a high school student to be published in a literary journal of this caliber,” Wyatt said. The scholarship program, which pairs students with Delmarva Review editors, was funded by Talbot Arts and is an initiative Wyatt hopes will continue.

“The biggest challenge is finding a teacher willing to partner with us,” Wyatt said. “The money isn’t much, but the real value is the mentoring. That’s what sets it apart.”

As Wyatt reflects on the Delmarva Review’s 16-year journey, he notes the consistency of its mission and, surprisingly, its quality. The recently released Best of Delmarva Review Anthology: 2008-2023 showcases what Wyatt calls “the best of the best” from the journal’s history—475 pages of poetry, fiction, and nonfiction from 75 authors.

“The anthology gave us a chance to look back,” Wyatt said. “We weren’t sure what we’d find revisiting the first issue. But we were surprised. The quality of the writing in that very first issue—with just 200 submissions—was strong. It held up.”

The cover photograph of the anthology—a great egret poised for takeoff—is Wyatt’s work. The editors, he said, chose it for its metaphorical resonance.

“We liked the idea of ‘taking flight,’” Wyatt said. “For writers, it’s a metaphor for launching new work. But for some of us on the editorial team, it also represents our readiness to step away.”

After 16 years as Delmarva Review’s executive editor, Wyatt is contemplating his next chapter—and he’s not alone. Several genre editors, who have devoted countless hours to reading, editing, and curating, are also considering handing over the reins.

“We’re at a high point,” Wyatt said. “If there’s ever a time to step back, this is it. But the question remains: Who will take it on? We’re open to inquiries and hope to decide early next year.”

Is Wyatt convincible to stay?

“Maybe,” he said. “For an interim period, if the goal is to transition to someone who shares the same vision of publishing exceptional writing without borders.”

And if this truly is the end?

“I’ll finally get back to writing my own work,” Wyatt said. “I was halfway through a novel before all this started.” However, Wyatt seems at peace with whatever happens next. If this anthology marks the journal’s final flight, it is a triumphant one—a testament to 16 years of exceptional storytelling and the thousands of writers whose words have taken off from its pages.

“Sometimes you have to stop and look at what’s been accomplished,” Wyatt said. “We’ve done what we set out to do—and then some.”

Whether Delmarva Review continues to soar or finally comes in for a landing, one thing is sure: its legacy is already written, and it’s a beautiful one.

Purchase a copy here

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Mid-Shore Arts: Bria Skonberg to bring jazz and joy to Oxford

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On November 30, the Stage @ OCC at the Oxford Community Center will host an evening with celebrated jazz trumpeter, vocalist, and composer Bria Skonberg. Known for her signature blend of New Orleans-inspired jazz, innovative compositions, and a warm stage presence, Skonberg’s performance at the OCC promises a unique, up-close experience where her expressive trumpet and soulful vocals will bring the room to life.

In a recent conversation, Skonberg shared insights into her musical journey, her passion for jazz, and what fans can expect from her upcoming show.

Skonberg’s road to jazz began in her hometown of Chilliwack, British Columbia, a small town that wasn’t exactly known for its jazz scene—that is, except for the Chilliwack Happy Times Jazz Festival that ran for over 20 years and focused on great, classic American, New Orleans roots of jazz. “I’m the product of a great public-school band program,” she said, “and the Festival did a really good job of incorporating the youth.” This introduction to jazz’s roots helped form Skonberg’s musical style. 

Though she initially began playing piano, she was drawn to the trumpet partially because her father had played it back in high school, and they happened to have one at home. She remembers being intrigued by its unique sound and appearance, describing how it looked “cool” and could produce “funny, interesting sounds.” Skonberg’s curiosity eventually grew into a passion for the trumpet, and although she acknowledges that it’s a challenging instrument, her fascination kept her going. “I think if you know how hard trumpet is, you won’t do it,” she says. “But by the time you’ve fallen in love with it and gotten obsessed with it, it’s too late to turn back.”

Now, that connection and obsession are almost inseparable from her identity as a musician. “The trumpet is fire you can articulate. You can have really bright, brassy sounds. And you can make it serene at the same time,” she says. It also allows her to express emotions beyond words. “I think all musical instruments are just extensions of our voices. But what’s beautiful is that you can communicate things when you don’t necessarily have the words for them, and that can go a long way these days.”

Skonberg’s music feels almost effortless as she combines her trumpet playing with her vocals, allowing her to explore a wide range of expression. “I love a beautiful melody that I can play on my trumpet and sing it as well,” she says. This dual approach lets her create a sound that balances lyrical beauty with gritty, grounded tones—something she plans to showcase at OCC, where she’ll perform a mix of her compositions and reimagined jazz standards.

In addition to performing, Skonberg has a deep commitment to music education. She grew up in a family of educators, and though her parents weren’t music teachers, their influence instilled in her a respect for learning and teaching. “Jazz is like a pay-it-forward art form. It gets passed down for generations. And so it’s just a joy and an honor when I get the chance to work with students and give it back,” she says. For young musicians, particularly those drawn to challenging instruments like the trumpet, she offers this advice: “Commit to the journey. You’re not going to get better overnight, necessarily, but you just want to be a little bit better than you were the day before.”

Skonberg sees the role of a jazz educator as someone who can introduce students to the foundational artists who shaped the genre. She makes a point to share the breadth of Louis Armstrong’s music with her students, emphasizing the six decades of his recordings. “I think that a lot of music education overlooks or speeds past the foundational roots of the music,” she says, explaining why she encourages her students to dive deeply into the music of jazz pioneers. Her music reflects this respect for tradition, especially her latest album, which draws heavily from New Orleans jazz and showcases her love for its percussive, joyful energy.

The songs on Bria Skonberg’s new album, What it Means, carry a sense of hope and resilience, reflecting her recent life experiences and the challenges of recent years. Among the album’s playful surprises is her cover of Sonny and Cher’s “The Beat Goes On,” a familiar tune with a jazz twist. “Many people know that song, but I put it over this hard bop ‘Sidewinder’ groove, which is really fun,” she says. By weaving together familiar songs with inventive arrangements, Skonberg creates moments that appeal to new listeners and offer “Easter eggs” for jazz fans alike.

This approach shines in intimate venues like The Stage @ OCC, where Skonberg can connect more closely with her audience. “I love when I can look into the eyes of audience members and see people,” she says. “With music, we’re storytelling, and I like to narrate my sets with some stories and share some things about myself.” Her storytelling makes each performance unique as she adjusts her set in response to the audience. “In an intimate space, I can watch and gauge listeners’ reactions, and that entertains me as well.”

One of the most personal pieces in her setlist is her arrangement of John Lennon’s “Beautiful Boy,” which she blends with Count Basie’s “Little Darlin’” as a tribute to her journey into motherhood. Skonberg says, “It’s like a lullaby for parents because parenthood is so hard, it’s such a challenge… but by that point, you’re just so full of love that the responsibility is welcomed.” Becoming a mother, she said, has expanded her emotional range and allowed her to connect with audiences on a deeper level, adding another dimension to her music.

Looking ahead, Skonberg is focused on keeping jazz alive through innovation and authentic self-expression. “That’s what keeps music fresh and unique; it is just being able to create off of real-world experiences,” she says. For Skonberg, each show, including her upcoming performance at THE Stage @ OCC, is a chance to connect through shared emotions and collective memories. “If I have a room of people for 90 minutes, and I can remind them that we all experience the same emotions, then I’ve done my part.”

Bria Skonberg’s performance at the Oxford Community Center on November 30 celebrates jazz, community, and connection. Her signature trumpet sound, soulful voice, and genuine love for sharing music will make this a night to remember. As Bria said, “It’s all about coming together and celebrating life through music. If not now, then when?” Tickets are available at http://oxfordcc.org, and Skonberg invites everyone to stay after the show to say hello and pick up a signed CD or vinyl. For those wanting a longer experience with the artist, VIP tickets are available and include a meet and greet, dessert and bubbly, front cabaret seating, and two drink tickets. 

 

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Mid-Shore Arts and Letters: Marcelo Antinori’s global journey of writing and adventure

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Marcelo Antinori’s career path is anything but conventional. With a background in economics and decades of global experience in social and economic development, the Brazilian-born author has traded spreadsheets for storytelling, drawing on the places and people he’s encountered worldwide. His latest novel, The Seagull and the Spy, a sequel to The Condor’s Riddle, brings his characters into new adventures while preserving the spirit of the first novel.

Author Marcelo Antinori

Although Antinori currently resides in France, he maintains strong ties to Maryland’s Eastern Shore, where he also keeps a residence and works with local publisher Secant Publishing. This connection to Maryland is part of the larger fabric of his international life, which has profoundly shaped his writing. “Traveling through different countries and getting to know their cultures has broadened my understanding of people and places,” he says. 

In The Condor’s Riddle, Antinori introduced readers to a cast of eccentrics, expatriates, and marginal figures struggling to survive amid international intrigue, drug cartels, and the looming presence of Chinese and American embassies. Central to the story was the mystery of El Dorado and the fabled city’s protection by generations of Indigenous people. The novel brought to life a magical world populated by a French archivist with a photographic memory, a Chinese exotic dancer, a remorseful German terrorist, and a blind Indigenous child with an extraordinary gift of perception.

Diverse these characters may be, but what is more surprising is what Antinori says about them, “Believe it or not, they all exist.” While the characters in his books are often exaggerated or fictionalized, they are inspired by real people he’s encountered in his travels. “I have a passion for those who don’t fit the mold, for people who are a little bit weird or live on the margins of society,” he says. “They’re the ones who end up doing the most interesting things.”

These characters intrigued Antinori so much that he wasn’t quite ready to let them go. “When you finish a book, sometimes the characters are still alive in your head. You want to keep playing with them, seeing what they’ll do next,” he said. This time, Antinori introduced a fresh plot involving an abandoned apartment with a mysterious past. “The idea came to me in a dream,” he says. “I had no idea what the story would be, but I started playing with the characters again. The thing is, when you know your characters well enough, you can put them in any situation—like a market or a confrontation—and just see what happens.”

The process of writing for Antinori is playful, even experimental. “Sometimes you develop a story, and it’s boring,” he says. “So I usually invent something completely absurd at this moment. Sometimes I create an accident, sometimes someone dies, and I have to reconstruct the story with this unexpected event.” To Antinori, that’s part of the fun. 

Another aspect is the author’s ability to mix actual historical elements with fiction. In The Seagull and the Spy, a Hungarian character who once played violin for Hitler becomes entangled with Che Guevara’s German mistress, a story that pulls from real historical figures but stretches into the realm of imagination. “Only about 10% of what I write is not true,” Antinori says, quoting the Brazilian poet Manuel de Barros. “The rest, I invented.”

Invented or not, Antinori’s fascination with diverse characters stems from his multicultural upbringing. Born in Brazil to an Italian family, he has worked extensively throughout Latin America, Africa, and Asia, “My characters are international,” he says, “because I feel I am international.” 

But if you’re expecting a particular message or deep commentary, Antinori’s goal is more straightforward: he just wants to entertain. “I want to tell a good story,” he says. “I’m not interested in making profound statements. Everything that needed to be said has already been said. I’m here to entertain. I don’t like to be considered an artist. I’m an entertainer. He is acutely aware that his work stands apart from more serious literary pursuits, but he doesn’t mind. “I think readers today are looking for something to relax with,” he says. “And if my stories can offer that escape, then I’ve done my job.”

As for what’s next, Antinori is already at work on several new projects, including a novel set in Paris and another based on his travels in Japan. He also hopes to continue working with Salisbury-based publisher Ron Sauder from Secant Publishing, with whom he’s had great success. “Ron and I met many years ago, and he’s been fantastic. He takes the time to edit thoroughly, which is crucial for me since English isn’t my first language.”

Although he currently resides in France, Antinori maintains a solid connection to the Eastern Shore of Maryland, where he hopes to return regularly. “The quiet beauty of the Eastern Shore is inspiring in its own way,” he says, noting the contrast between Maryland’s peaceful landscapes and his novels’ vibrant, often chaotic settings.

He’s already planning a visit in January, including a possible book signing at the Easton Public Library. As he returns to the place that’s become one of his many homes, Marcelo Antinori’s journey as a novelist continues to unfold—one story at a time, one unexpected and playful twist after another.

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Beyond black and white: Oerdy Hummel’s journey of art, freedom, and color

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Like many artists, Erdmann “Oerdy” Hummel is a man whose life and art are deeply intertwined. But his story is also a journey through politics and personal resilience that many don’t get to nor would want to experience. To hear him speak is to get caught up in the intensity of his past, the present of an artist committed to his craft, and a future of hope.  It’s to be invited on a trip from East Germany’s Communist regime to one of international acclaim as an artist and a journalist. 

Oerdy’s latest works feature zebras with vibrant, colorful stripes. For him, these zebras are symbols of individuality and joie de vivre, a spirited representation of life’s complexities and the beauty of embracing them, a far cry from the black-and-white thinking he grew up fighting against. 

Reflecting on his choice of subject, Oerdy says, “I love zebras. They are a symbol of freedom to me. Each of these animals is different. Their stripes are individual. Also, zebras are herd animals like humans, and there are many secrets about these zebras.”

It’s a message that resonates deeply with Susan Schauer John, owner of the Zebra Gallery. “I met Oerdy earlier this year through Richard Marks and Amy Haines, who invited him to do a show at the Out of the Fire Restaurant. I immediately fell in love with the work and, of course, the meaning of the work. It’s a 100% fit with the Zebra Gallery and our mission.”

Oerdy’s life story is as striking as his art. Growing up in East Germany, he learned early on that art could be a powerful tool for self-expression and defiance. After multiple attempts to escape the Communist regime, he finally found freedom when the Berlin Wall came down. He then pursued a career in journalism, reporting from some of the world’s most dangerous crisis zones, including Afghanistan, Iraq, and Gaza. Even while documenting these intense experiences, Oerdy never stopped painting. “My personal history is deeply embedded in my art,” he said. “When I was in prison, I thought about freedom and how to get it, and what would I do for my own freedom. Art became a means of resistance, a way to say things that couldn’t be spoken aloud.”

It’s a sentiment that Schauer John understands well. “What I love about Oerdy’s work is that it’s not just beautiful—it’s meaningful. He uses materials like aluminum cans he’s collected at war zones worldwide. That’s amazing, and the symbolism involved in that speaks volumes. I particularly love his style and his work, but more importantly, the meaning behind it, and for me, that richness matters.”

In one of his pieces, a zebra is painted in the yellow and blue of the Ukrainian flag, its body pressing through a wall marred by symbols of oppression. Oerdy explains, “I painted this piece after Russia invaded Ukraine. The zebra, with its yellow and blue stripes, is a symbol of hope breaking through darkness.” It also rejects the black-and-white mindset he associates with authoritarian regimes. “Colors give me hope. The world isn’t black and white. The world is colorful.”

For Schauer John, Oerdy’s art is a profound example of how creativity can bridge cultural divides and speak to universal themes. “Art has this incredible ability to connect us. No matter where we come from, we all understand loss, hope, and resilience,” she says. “What I’d like people to take away from seeing his work is a sense that art is a way to reflect and appreciate all that is around us and all that we’re capable of and how we all share this life on the planet. I think there’s a language in art, whether a painting or a sculpture, that transcends language differences, and I think art brings us together in that way.”

Oerdy’s admiration for American culture is another thread woven throughout his life and work. Growing up under the shadow of the Berlin Wall, he was captivated by American jazz, pop art, and films. “American culture showed me what freedom looked like,” he says. “

When asked what he hopes to leave behind, Oerdy is humble. “I don’t think about that too much. I just enjoy creating art.” Schauer John, however, has no doubt about the lasting impact of his work. “It’s an honor to host an international artist like Oerdy,” she says. “Now, when we’re feeling somewhat divided, it’s important to have perspective, and I think Oerdy brings that, having grown up in East Berlin and gone through what he’s gone through, to be here now is really a sentiment to appreciate what we have. ” 

Through the end of the month, Oerdy’s works are on display at the Zebra Gallery in Easton as part of the Evolutionary Art and Artists series. But Schauer John says that she will continue to exhibit Oerdy’s work and encourage visitors to look beyond the black and white, to experience his journey of courage, creativity, and the belief in the power of art to break down barriers—both literal and metaphorical and to dare to see the world in vivid color.

The Zebra Gallery is located at 5 N. Harrison St. in Easton, MD.
Hours:  Thurs – Sat. 11 – 5 pm,  Sun. 11-4 pm

 

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