Ellen C. Caldwell | ECLAIRE.me

Tom Pazderka’s (NAP #117) work is quietly disturbing. His mixed media and wood installations have a haunting presence, suggesting isolated cabins in the woods, lone wolves, and ideas or dreams gone astray.

Because of this self-reflectivity, it is especially fitting that we follow Camille Hoffman in this Process of a Painting, as we move into her creative space, following her from sketch to finished painting in creating Buried High in Heaven.

Nestled in the Emergency Arts building on Fremont Street in downtown Vegas, Satellite Contemporary is a small, cozy space pushing the limits and expanding the local programming.

Heidi Draley McFall creates monumental pastel portraits that are haunting and endearing, personal and startling. See her intricate process on New American Paintings.

Alexandra Wiesenfeld paints massive landscapes suggestive of the California painting tradition of the past, but she reinvigorates these on a grand scale and reimagines them with bold colors, frantic lines, and bursts of energy.

David E. Peterson takes industrial design as his inspiration and turns it into art for your wall. Moved by the bold colors, layout, and rhythms of storeroom floors and wall displays, Peterson set out to mimic and recreate those aesthetic triggers in his wall sculptures.

Skylar Fein combines text and paint to create powerful imagery on paper, aluminum, and wood. With a burst of dry verbal wit and starkly contrasted style, his works bite you subtlety and leave you thinking.

Susan Logoreci captures that feeling beautifully in her drawings. In this Process of a Painting, we are looking at her detailed hand behind the creation of U.S.C. (Urban Swarm Contemplated), 2014. Using colored pencil on paper, she creates a wonderfully and surprisingly rich and bold palette, while exploring an equally intricate subject.

Inspired by a book of photos from 1911 when Niagara Falls actually froze over, Rebecca Bird’s exhibit explores this natural wonder beautifully. Some of her works seemed totally abstract at first glance. Just glancing from painting to painting, I could see a myriad of crystals forming, with stalactite-like formations, dark purple and blue ice caves shrouded in mist, stunted waterfalls, and scenic hints of humanity on the landscape’s horizon in the distance.

In “Sweet Broken Now,” Rebecca Farr’s third solo show at Klowden-Mann, Farr made Manifest Destiny her subject of inquiry and aimed to capture the complex history arising from the ideology and religious fervor that justified white westward expansion during the early 1900s.