Creating is part of who we are as human beings. We were made to create, to “tend and care for the earth,” and to unfold and discover the wonders of God’s universe. His goodness and common grace are given to all of humanity in spite of sin. This enables us to enjoy the beauty and art that are produced by all people. But it is the work of an artist who is “a vessel for honor”– to “give worth to” the God who created him or her. If we do not “give worth to” God, we will worship something or someone else.

This site has Paypal and more newer work. If there is no price (Paypal) on an image, it has SOLD.
Reviews of my work, past news, and a more complete resume are still on my former Web site.

Thank you Michael Haun, the director of Storyrealling.com who interviewed me for his video site and as a gift to me!

These events will include performances of the Folk Songs in a gallery that reflects the eight cultures represented in the songs. The gallery is tailored to interact with the music, celebrating each culture's unique history and traditions while illuminating cross-cultural themes and commonalities in the human experience. My paintings represented the USA: the songs, I Wonder as I Wander and Black is the Color of my True Loves Hair.

The New School
Saturday, April 18, 2015 at 7:00 pm
University Center, UL102
63 Fifth Avenue, New York, NY

New price and format. Dust jacket version has personal bio and statement.

Music by Sandra McCracken / paintings by Carol Bomer on You Tube

An overview of the ARTE-FE catalogue. artists and where they are from are listed at the bottom of their work.

Fun to watch the process of installing the show. My piece Ready for Love is at 7:46 min into the video.

"As an art historian, curator of exhibitions, art critic, and educator, I live and work and have my being in modern and contemporary art and theory. I work precisely where the crisis of the image is most obvious. Yet I find hope. I find altars to the Unknown God (Acts 17) strewn about the landscape of contemporary art. My responsibility is to name these altars, to declare confidently and creatively that it is in Christ that all things hold together (Col. 1: 17), even in contemporary art. It is to discern the Logos in the logos of the work of art.
Protestants and Catholics need to rediscover Nicaea II and the insights of the theology and practice of the icon. We do not need to transform western religious or secular art into something that looks like icons, but to recognize that the very presence of the icon in the history of the Church underwrites all painting. The Incarnation of Christ not only changed the nature of humanity, it changed the painted image, ripping it open to receive the Spirit. The theology of the icon is not an exotic cultural quirk of the Eastern Orthodox. It is the way the world of painted images actually works because Christ has changed the material world, the material of flesh and bones, as well as paint and wood. Perhaps it is not an exaggeration to claim, following Florensky, Rublev's icon of the Holy Trinity exists, therefore art exists.