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Boston Red, 1986

Woodcut
18 3/4 × 16 in
47.6 × 40.6 cm
Edition 7/20
Bidding closed
About the work
Provenance
CGA
Capsule Gallery Auction

frame: 33 1/4 x 31 1/2 inches

nicely framed by Bark Frameworks

frame: 33 1/4 x 31 1/2 inches

nicely framed by Bark Frameworks

Signature
Signed lower right, numbered 7/20
Jeanette Pasin Sloan
American, b. 1946
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Jeanette Pasin Sloan plays with abstraction in her photorealistic paintings, prints, and drawings of silver and stainless steel kitchenware, painstakingly depicting the distorted reflections of their heavily patterned surroundings in their shiny surfaces. Her artistic practice grew out of young motherhood. At home with her children, she embarked upon a project to paint every object in her kitchen, sparking her particular and ongoing fascination with the perceptual possibilities inherent in the items with richly reflective surfaces. By setting such things as pots, cups, ladles, and bowls against a range of wildly patterned backgrounds, Pasin Sloan explores the porous boundary between abstraction and representation, chaos and order. As she describes: “I’ve always thought that my best work was right on the edge of disorder. I think it’s as much about disorder as it is about harmony and balance.”

navigate left
navigate right
Save
Save
view
View in room
share
Share
Save
Save
view
View in room
share
Share
About the work
Provenance
CGA
Capsule Gallery Auction

frame: 33 1/4 x 31 1/2 inches

nicely framed by Bark Frameworks

frame: 33 1/4 x 31 1/2 inches

nicely framed by Bark Frameworks

Signature
Signed lower right, numbered 7/20
Jeanette Pasin Sloan
American, b. 1946
Follow

Jeanette Pasin Sloan plays with abstraction in her photorealistic paintings, prints, and drawings of silver and stainless steel kitchenware, painstakingly depicting the distorted reflections of their heavily patterned surroundings in their shiny surfaces. Her artistic practice grew out of young motherhood. At home with her children, she embarked upon a project to paint every object in her kitchen, sparking her particular and ongoing fascination with the perceptual possibilities inherent in the items with richly reflective surfaces. By setting such things as pots, cups, ladles, and bowls against a range of wildly patterned backgrounds, Pasin Sloan explores the porous boundary between abstraction and representation, chaos and order. As she describes: “I’ve always thought that my best work was right on the edge of disorder. I think it’s as much about disorder as it is about harmony and balance.”

Boston Red, 1986

Woodcut
18 3/4 × 16 in
47.6 × 40.6 cm
Edition 7/20
Bidding closed
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