Theresa Sanders: In My Loves Vision


ZAP 10 Pop-Up Art Show

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Bobbie Ann Howell “Silenced Snowstorm”


Leila Hernández: “La Visa Negra”


Elena Wherry: “Bleaching”

Artist State

Coral die-off is caused by a process known as bleaching. Dying coral look bland and lifeless, in contrast to the vivid rainbow hues of thriving coral. Using collage techniques, various papers and watermedia I visualize the beauty found under the water. I fuse abstraction and representation, vibrant colors and monotonous hues, living creatures and dying cells. My intention is show the great beauty and complexity of the coral, but allude to catastrophic climate change and pollution of the ocean.

People have referred to coral bleaching as “the most beautiful death”. The viewer must question is this is alive or deceased?


Elena Wherry (Pisnaya) was born in Russia in 1967. Art and creativity have been a part of her life as long as she can remember, having grown up with a father and grandfather who were both great musicians and artists. After moving to the United States in 2000, she began to study art in college and work professionally as an artist. She took Art History and almost all of studio art classes at the College of Southern Nevada and UNLV. After rediscovering watercolor and loving to work on paper surface, she began to take workshops with the best national and international watermedia artists.

Elena is constantly learning and searching for ways to keep her work exciting. She has accumulated numerous awards at the local and national juried exhibitions. In 2016 Elena was an artist in residence at the Neon Museum in Las Vegas. Her works were exhibited at the Barrick Museum, and her paintings are in the permanent collection of UNLV Student Union.



Elena Wherry Artist Homepage:
Elean Wherry Instagram:
Review Journal “Las Vegas Art Galleries”:

Shona Macdonald: “Overcast”

Artist State

These works form a series that investigates topsy-turvy, skewed, and disorienting views of the world as a metaphor for our enduring sense of displacement. Based on my encounters with the landscape as a mysterious and unpredictable place, the puddles depicted in the paintings, and their attendant reflected images, shrink and disappear, hinting at our transient and fragile hold on the earth. Literally, they reflect upon the environment by offering transparent water to gaze into and metaphorically, these pools of water are a mirrored surface that flattens and disconcerts us by casting back an image. The work acknowledges that reflections in water are a significant part of the history of painting yet rather than depict these as places that evoke elevated or sublime emotional states, I focus attention on the puddle’s intimacy and melancholia. At the heart of this work there is an uncanny ‘doubling’ embedded in the use of reflections that I purposefully employ to exaggerate our sense of dislocation and displacement as we move throughout the world.

Driving and walking around uncovers these arresting images by simply observing my surroundings.  Through repeated viewing, I become particularly interested in the shape of and reflected images created by the puddles. Images are initially recorded as photographs that are then developed over time using Photoshop and drawing. I also rely on memory to recall what I have seen. My process then entails an initial layer of acrylic paint, laid down as either a solid or very washy color which is then built upon by accumulated layers of oil paint.  The underpainting seeps through, creating a sense of depth.  ‘Ghosting’ occurs in the layering method I use, not only in the underpainting peeking through from underneath, but also, in how the materiality of the paint retains its ‘body’ and starts to produce seams, scars, and other dimensional marks. My physical treatment of the paint helps me wring out psychological content and further connects the viewer to the subject matter through the palpable presence of the human hand in constructing the images. Different scale choices allow me to experiment with space and not be constrained by habit or familiarity. For example, the physical size of the smaller works echoes small niches within the landscape they represent, while the larger canvases offer a more expansive and immersive experience for the viewer.



Shona Macdonald received her MFA in 1996 in studio arts from the University of Illinois at Chicago and her BFA in 1992 from Glasgow School of Art in Scotland. She has had selected solo shows at the Tarble Arts Center, Charleston, IL, (2015), Gridspace, Brooklyn, NY, (2014), Ebersmoore, Chicago, (2012), the Roswell Art Museum, Roswell, NM, (2011), Engine Room, Wellington, New Zealand, (2010), Proof Gallery, Boston, MA (2009), Reeves Contemporary, NY, NY (2008), Den Contemporary, LA, CA, (2007), Skestos-Gabriele, Chicago IL, (2005), Galerie Refugium, Berlin, Germany, (2002), and Fassbender Gallery, Chicago (1998 and 2000). Her work has been included in numerous group shows across the United States, UK, Australia, and Canada. Reviews of her work are included in Art in America, Art News, the LA Times, Chicago Tribune, Chicago Sun Times, Sacramento Bee, Boston Globe, Artscope, and New American Paintings. She has been a Visiting Artist at over forty institutions, including Wimbledon College of Art, London, (1998), Georgia State University, Atlanta, (2007), Cornell University (2006), the University of Alberta, and the University of Calgary, Canada, (2002). Shona Macdonald was the recipient of a grant from the Pollock-Krasner Foundation, NY, (2009), a Fellow at Roswell Artist-in-Residence in Roswell, New Mexico, (2010-11), Can Serrat, Barcelona, Spain, (2012), the Cromarty Arts Trust in Scotland and will be resident at Ballinglen in Ireland, summer of 2017. She is currently Professor of Studio Art and Graduate Program Director at the University of Massachusetts Amherst and formerly Associate Professor at Illinois State University, where she taught from 1998 until 2006.



Shona Macdonald Artist Homepage:
University of Massachusetts Amherst Faculty Page:
Garvey Simon Gallery, New York, NY:

CSN 2018 Juried Student Exhibition & Salon de Refuses


Exhibition Information
Location: Fine Arts & Artspace Galleries on the CSN North Las Vegas Campus
Dates: Friday, May 11 – Saturday, June 23, 2018
Juror’s Talk, Awards Presentation & Artist Reception: Friday, May 11, 6 p.m. to 8 p.m.


Press Release
The College of Southern Nevada Fine Arts Gallery will present its annual Juried Student Exhibition beginning Friday, May 11, 2018 and will run through Saturday, June 23, 2018. A reception with refreshments, awards ceremony, gallery talk, and Salon de Refusés will take place on Friday, May 11, from 6 – 8 p.m. This exhibition will feature student artwork made in connection with CSN Fine Arts Department, Art and Art History courses with media including drawing, painting, sculpture, printmaking, ceramics, jewelry and design.

This year’s exhibition will feature guest judges, the Latinos Who Lunch: Mr. Justin Favela (Favy Fav), Artist, BFA, University of Nevada Las Vegas and Dr. Emmanuel Ortega (Babelito), Curator, PhD, Ibero-American Colonial Art History, University of New Mexico.

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FavyFav is a Las Vegas native and an artist working in the mediums of painting, sculpture, and performance. He is also a curator, food writer, and avid podcast listener. He has participated in exhibitions in Nevada and across the United States. Las Vegas venues include the Contemporary Arts Center and the Clark County Government Center. His work draws from art history, popular culture and his Guatemalan/Mexican heritage. Favy has curated many shows throughout southern Nevada, from UNLV’s Marjorie Barrick Museum of Art to El Porvenir Mini-Market in North Las Vegas.-1.jpg

Babelito is a Curator and earned his PhD in Ibero-America colonial art history from the University of New Mexico. He is a music lover, a Café Tacvba fan and a music festival junky. Since 2007 he has explored themes of violence, identity, race and class difference in colonial Latin American art. He has presented his work in the Universidad Autonoma de Mexico (UNAM) in 2012 and the College of Art Association and American Studies Association in 2015. He has curated art exhibitions for Museo de Arte Religioso Ex-Convento de Santa Mónica in Puebla México, the Mexican Consulate in Las Vegas and for the University of Nevada Las Vegas (UNLV). Currently, Babelito is finishing his Ph.D thesis work and is constantly contributing to the education programs of Arquetopia, Foundation for Development in Puebla and Oaxaca Mexico.


The CSN Art Galleries would like to thank its guest judges, FavyFav and Babelito and its outstanding community partner, Blick Art Materials for their generous support of this exhibition and our students.


And the Winners Are…


Christine Debacker-Guziak

10 Color Silkscreen Print
Nevada’s Cold War Consequence
Professor Anne Hoff, Serigraphy


Jozet Deras

Wood and Yarn Sculpture
Professor Christopher Bauder, Sculpture I


Jose De’Andre Rivera lll

A Quite Morning in Edo
Professor Alfonso Lirani, Watercolor I


Dan Hernandez

Oil Painting
Self Portrait: Outward Appearances
Professor Mark Brandvik, Painting I


Katlin Quezada

Colored Pencil and Ink on Paper
Stripes and Lights
Professor James Ogletree, Drawing II


Mason Rempfer

Charcoal on Paper
Saint Cardi
Professor Anne Hoff, Drawing II


Yaffa Cary

Love Box
Professor Robin Starks, Ceramics I


Maria Lozano Siciarz

Ink on Paper
Grid Pattern Portrait
Professor Kathleen Nathan’s 2D Design Fundamentals


Barbara Gerhardt

Sterling Silver Jewelry
Ying & Yang Earrings
Professor Emerita Joanne Vuillemot, Jewelry I


Nanci Clyde

Digital Painting
Professor Suzanne Acosta, Painting I

The CSN Fine Arts Gallery and all gallery events are free and open to the public. Gallery hours are from 9 a.m. to 6:00 p.m. Monday through Friday and 10 a.m. to 4 p.m. Saturday. The Fine Arts Gallery are located at the half circle drive near CSN’s main entrance, on the North Las Vegas campus at 3200 E. Cheyenne Avenue, one mile East of I-15 North.

For more information please call (702) 651-4146, email: or visit:

“2018 Art of the Young Child”


Press Release
The College of Southern Nevada Department of Fine Arts will host an exhibition of artwork created by students of the CSN Early Childhood Education Laboratory Program. This exhibition, a collection of artwork by children ages 6 months through 5 years, utilizes a variety of media and expresses the thoughts, emotions, and creative explorations of its young artists. “2018 Art of the Young Child” will begin Friday, April 13, and will run through Saturday, April 28, 2018.

“Art is a vital part of the Early Childhood curriculum,” says Janis Fikes-Buntjer, ECE Laboratory Program Director. “Children of all ages are given time and access each day to explore and manipulate a wide range of art materials. As children explore – they learn. They learn about physical properties of the media; they learn problem-solving skills; they learn social skills; they develop motor skills; and they learn creative ways to express themselves – most importantly they learn that ART IS FUN!


CSN’s Early Childhood Education Lab Program is a nationally accredited preschool, kindergarten and childcare program for children ages 6 months through 5 years. As a model for “best practice” in Early Childhood Education, the ECE Lab Program provides CSN students, participating parents, and the local Early Childhood community, opportunities for observation and practice.

This exhibition is featured in conjunction with the CSN Early Childhood Education Program and in celebration of the National Association of the Education of Young Children’s (NAEYC) “Week of the Young Child,” April 16 – April 20, 2018. This exhibition is free and open to the public.

Artwork will be on display at the Artspace Gallery on the North Las Vegas Campus, 3200 E. Cheyenne Avenue, North Las Vegas and in the “I” Building, First Floor, Main Corridor, on the Charleston Campus, 6375 W. Charleston Boulevard, Las Vegas. This exhibition will be open during normal campus building hours.



CSN Child Care / Early Childhood Education Lab:
CSN Early Childhood Education Program:
National Association for the Education of Young Children:

Yoshiko Shimano: “Engraving on Land”

Artist State

“Engraving on Land” is about people’s living conditions, their creativity, and evidence that people’s daily lives have been conducted on their lands. The title has two metaphoric meanings. The first is the physical changes of the land after destruction from wars or colonization. These physical change can also occur from another culture’s influences, like forced construction and industrial projects. Often, past physical change may not be recognized in the present. We forget easily, because lands continue to host new people’s lives that create new landscapes. The second meaning is the emotional scarring and mental changes. I became interested in how people kept their identities, cultures, pride, and languages under difficult circumstance. When I learn about the histories of how people lived, I am often encouraged by their wit, humor, creative energy, and love, which kept their lives going. I hope that my work expresses the beauty of all human beings with their strengths and passions.

“WISDOM OF WATER” and “CITIES IN CHECKERS” are two separate cities in different cultures and locations, but they have twin like similarities. The canal system in Amsterdam influenced the system in Edo (Old Tokyo) of the 17th century, and the city structure in Kyoto in the 12th century had a very similar city plan to New York City today. I became fascinated by how human beings of different nationalities, cultures, and religions embraced similar living conditions: even if living conditions then in each country were limited in many different aspects, I often feel that the people lived their everyday lives creatively, simply, beautifully, and peacefully.

“70 YEARS OF SILENCE”, “COMPENSATION FOR THE COUNTRY”, and “COMPENSATION FOR THE COUNTRY – RED and WHITE” address the island of Okinawa in Japan, which has been a victim of political conflict with both Japan’s main islands and the U.S. Particularly even into the present, discrimination and neglect by Japan’s main islands have been focused toward Okinawa. I realized there are many similar stories around our world. People, who by chance are living on small islands or in countries with a small GDP, become less valued. Their voices are hardly heard.

“BLACK TEARS AND BLACK RAIN”, both terms were natural phenomena. One occurred after the USS Arizona was sunk in Pearl Harbor in 1941 and the other after a nuclear weapon was exploded over Hiroshima in 1945. In Hawaii, black oil tears arose from the sunken ship forming floating rings on the ocean. In Japan, black rain, contaminated with high levels of radioactive dust, caused a secondary disaster and increased the number of victims of the bomb. The year of 2016 became a historical year when President Obama became the first sitting U.S. president to visit the Hiroshima Peace Memorial and met some Hibakusha (survivors of the nuclear bomb). In the same year, Japan’s Prime Minister Abe visited Pearl Harbor. These events proved to the rest of the world that two past enemy nations could achieve and maintain a peaceful friendship after seventy-one years and are working together toward world peace.

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Working on a grand scale, printmaker Yoshiko Shimano challenges to transform the paper so it no longer speaks as “paper”, but has a density of physical presence that is one with its imagery. By using many different printmaking marks, she wishes to unify existing mediums and layers into a seamless language. Her work invites its audience to enter a seemingly infinite and paradoxically intimate space. Hung in one space large- scale prints become installations or environmental works, which interact with the architecture and create own atmosphere. She likes the possibility of the work “breathing” in its specific environment. Many of her work are her prayers for things she doesn’t have control over, but feels responsibilities toward as one living in this world.

Japanese born Yoshiko Shimano’s work has been exhibited extensively in Canada, Europe, Japan and the United States. She received her B.F.A. degree from California College of the Arts and M.F.A. degree from Mills College in Oakland, California.
She embraces an artist’s responsibilities within society to expand beyond studio practices or gallery presentations. Shimano has offered many outreach projects, local and international, and made prints for various minority groups and victims of natural disaster with her students through the Department of Art at the University of New Mexico.


Yoshiko Shimano Artist Homepage:​​
University of New Mexico Faculty Page:

Jing Zhou: “Visual Meditations”

Artist State

As a Chinese woman artist living in the Western world, I am aware of art, literature, philosophy, and mythology from both cultures. My understanding of Chinese philosophies has shaped my thinking and conduct. The prudent and contrary-minded Taoist beliefs, the attached-to- the-earth reality of Confucianism, and the sudden enlightenment and intuitive insights of Zen are the foundation of my life. On the other hand, Western culture has inspired me and opened new ways of thinking.

Developing a personal visual language that expresses universal ideas, I create artworks for the stories and aesthetics of each image, and for making visible those concepts which reflect my personal experiences. I want my viewers to look at my images through magical windows into a deep secondary space.

Inspired by nature and multiple cultures, my artwork explores our common humanity, diverse society, and my inner voyage. Creating artwork required me to realize my nature, re-study my culture, and adapt new thinking, which resulted in a new perspective on life. It has also challenged me to constantly solve visual problems, learn new techniques, and explore the splendid human heritage. My images form a visual communication that interacts in several collective dialogues. These dialogues are between eternity and transience, oneness and variety, existence and emptiness.

Beyond various techniques and conceptions, the process of creating and making art has enchanted me. At the core of my art-making is an attempt to attain moments of transcendence, to reach the artless-art, emptiness, and egolessness. My artistic creation is a process of deciphering my life journey.



Born in Chongqing, China, Jing Zhou is a multimedia artist, designer, and Associate Professor in New Jersey, USA. Her award winning work has been widely shown and collected internationally including: Triennale Design Museum, Milan; British Computer Society, London; Asian Cultural Center, New York; SIGGRAPH Art Gallery; ISEA; CAA; Les Abattoirs Museum, France; Mons Memorial Museum, Belgium; Royal Institution of Australia; RE-NEW, Copenhagen; New York Hall of Science; Danish Poster Museum; GAMeC Modern and Contemporary Art Gallery, Italy; Athens Digital Art Festival, Greece;Taksim Republic Art Gallery, Istanbul; FILE, Sao Paulo; Visual Information Design Assn. of Korea; Goethe Institute Alexandria, Egypt; Hungarian Electrographic Art Assn., Budapest; Brown University; Grand Canyon National Park; PX3 Prix de la Photographie Paris Awards; International Photography Awards; public collection of the WRO Media Art Center, Poland; Waikato Museum, New Zealand; Moravian Gallery in Brno, Czech Republic; SDAI Museum of the Living Artist, San Diego; and Chinese Culture Center of San Francisco. Numerous books and magazines such as Photo Techniques, NMEDIAC, and Computer Graphics World have published her work. Jing is also a Gold Medal recipient of the Art Directors Club of New Jersey, Gold Winner of the American Design Awards, Silver Winner of the Summit International Creative Awards, and Prize Winner of IFUW (GWI) Poster Competition in Geneva. Jing’s multimedia artwork explores our common humanity and reflects her interest in spiritual experiences, Eastern and Western art, literature, and philosophy. To Jing, creating art is a process of deciphering her life journey.


Jing Zhou Studio Homepage:​​
Monmouth University Faculty Page: