I consider these objects to be what is real, what we can hold onto in life, but in the reflections, there remains what we do not know, the mysterious, that which is unsettling and perhaps chaotic. 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.

– Jeanette Pasin Sloan

Jeanette Pasin Sloan takes visible reality as a starting point for her paintings, drawings, and prints. She auditions primarily domestic objects; silvered cups or bowls, with curved reflective surfaces, to be the actors on her up-close fantastically patterned stage sets. With close cropping and careful manipulation, Pasin Sloan’s complicated compositions subtly pull the viewer in and add to both the sense of reality and abstraction in her tour de force works of art. Originally from Chicago, Pasin Sloan now lives in Santa Fe, NM and the cactus and flowers of the desert have become perfectly integrated with the cool reflections and pattern in her newest work.

Jeanette Pasin Sloan is also a prolific printmaker who has published numerous editioned works with Landfall Press over the past 35 years. Pasin Sloan’s work can be found in the Metropolitan Museum of Art, New York, The Art Institute of Chicago, Cleveland Museum of Art, Elvehjem Museum of Art, University of Wisconsin-Madison, Federal Reserve Board, Washington, D.C., Fogg Art Museum, Harvard University, Cambridge, Massachusetts, Harvard University, Cambridge, Massachusetts, Indianapolis Museum of Art, Indianapolis, Indiana, Kansas City Art Institute, School of Design, Kansas City, Missouri, Milwaukee Art Museum, Milwaukee, Wisconsin , Minneapolis Institute of Arts , National Museum of American Art, Smithsonian Institution, Washington, D.C., National Gallery of Art, Washington, D.C. , New York Public Library , David and Alfred Smart Museum of Art, University of Chicago , Snite Museum of Art, University of Notre Dame, Notre Dame, Indiana , Yale University Art Gallery, New Haven, Connecticut , to name a few.