Without resorting to hierarchies, Sacharow-Ross has consistently sought to combine disciplines, people, and sites so as to shift the limited perspective of the individual artist towards a vision of the artist as combiner and mediator. The method of the observing, redeeming, communicating, and narrative inventor and researcher is shown in the thematic and motivational variety of his artistic, often laboratory-like experimental set ups which often manifest in the most various media – as intermedia, as spatial collages, and installations.

The sources of his scientific landscapes are social, political, aesthetic, economic, and ecological spaces of thought: combining these, he creates interpretations of the myriad processes and possibilities of perception. The complex, open space provided by his material – as well as immaterial – artistic transformations of social, cultural, historical, or scientific phenomena evinces a high degree of ambivalent truths (and or “realities”) and hybrid solutions, and aims to construct new models of perception and an awareness of life’s realities or worldly structures of existence. In this way, Sacharow-Ross' artistic works are discursive analyses of concrete realities, and thus show how art in the twenty-first century, through its transgressive, relational character to other disciplines, is capable of contributing to our view of the world and its transformation.