gardens and dance

and a little bit more info

Andrea Fisher developed her eye for nuance and beauty throughout her former career as a dancer and choreographer. The Andrea Fisher Dance Company performed in New York City theaters, New York City dance festivals, universities, and at the Nassau County Museum of Art. The museum, located on the former Frick Estate, ranked among the nation’s largest, most important suburban art museums in the United States. Ms. Fisher was a guest artist at Douglass College at Rutgers University, where she created and performed in a choreopoem – a dance piece set to poetry. She was also a guest on television’s Art Scene on Long Island, discussing her work and her creative process. Fisher’s choreography was featured in The New York Times and Dance Magazine, among other publications. She was awarded numerous grants from the New York State Council on the Arts, for whom she later served as a grant panelist. Photos of her choreography, taken by the legendary dance photographer Lois Greenfield, are part of the permanent archives of the New York Public Library for the Performing Arts at Lincoln Center. Those images can also be viewed below.

In a second phase of her creative life, she celebrates the beauty of classicism. Having designed elegant interiors, harmoniously blending the fashionable modern with the classical, her work demonstrates that art and style rooted in the principles of classicism are timeless. Fisher is also a designer of enchanting gardens, and holds the title of Official Garden Designer of the Mission of Argentina to the United Nations. As a former fine art and antiques dealer for over twenty years, her passion and expertise is in 18th-century French rococo drawings and prints and 19th-century French Academic paintings. She has auctioned fine art and antiques at Christie’s and Sotheby’s and has procured period art for scholars, ambassadors, collectors, and design clients. In addition, there has been museum interest in her pieces. Art from her gallery (as well as her designs) have been featured in national magazines and newspapers; most recently, her garden designs were featured on the website and Instagram of Victoria magazine.

Her passion for 18th-century French art and culture, and her desire to tell stories, has led to the creation of a blog, and now a book; both created to inspire those who “have lov’d the principle of beauty in all things.”

“Who told you that one paints with colours? One makes use of colours, but one paints with emotions.”

-jean-baptiste siméon chardin (1699-1779)

my garden designs 

and my choreography

 my choreography

Solo Suite - A View Of Past Romance

Andrea Fisher Dance Company in performance at the Cunningham Studio Theater in New York City. Dancers June Balish, Maxine Lindig, and Tara Munjee  in Fisher’s “Solo Suite – A View Of Past Romance.” Photograph by Cathy Gonzalez and music by Erik Satie.

I was thrilled to learn that photos of my choreography (taken by the legendary dance photographer Lois Greenfield) are part of the permanent archives of the New York Public Library for the Performing Arts at Lincoln Center. Below are images of my work, photographed by Ms. Greenfield.

woman on the edge of a chair

choreography by Andrea Lynn Fisher

“Woman on the Edge of a Chair” was performed by June Balish (of the Andrea Fisher Dance Company) and made possible in part by public funds from the New York State Council on the Arts. It was inspired by a piece of music by Per Nørgård and is a journey (my journey) inward. The dancer ventures deep into the psyche of her inner landscape to explore the most painful parts of herself. Once there, a door opens, leading her on a path to reconciliation and freedom. The chair represents everything she comes face to face with: her experiences, her relationships, and ultimately, herself.


This next piece, also performed by June Balish, is titled, “Syrinx.” Its inspiration came from a flute solo of the same name, composed by Claude Debussy. The music spoke to me, inspiring a dance that tells the story of a sphinx who is trying to free herself from stone. It is abstract, in that the imagery suggests the story by using mood, senses, and emotions. However, the audience takes from it their own individual meaning. Our life experiences, memories, and desires define the meaning of a work of art at any given moment, making it unique to each of us. I have wonderful memories of speaking with audience members after our performances. I was always moved when hearing how these dances affected them.