Mark Hagen, Richard Hoblock, Lesley Vance

June 28 – August 2, 2012

Mark Hagen

To Be Titled (Subtractive Sculpture #8), 2011

Rainbow Obsidian and steel

63 x 10 x 10 ¾ inches

160 x 25.4 x 27.3 cm

Richard Hoblock

Rope Dancer, 2011

Oil on canvas

81 x 110 ¼ inches

205.7 x 254.6 cm

Mark Hagen

To Be Titled (Subtractive Sculpture #11), 2011

Rainbow Obsidian and steel

51 x 14 ¼ x 14 ¼ inches

129.5 x 36.2 x 36.2 cm

Mark Hagen

To Be Titled (Subtractive Sculpture #10), 2011

Rainbow Obsidian and steel

51 x 14 ¼ x 14 ¼ inches

129.5 x 36.2 x 36.2 cm

Mark Hagen

To Be Titled (Subtractive Sculpture #1), 2010

Rainbow obsidian and steel

60 x 12 x 13 inches

152.4 x 30.5 x 33 cm

Lesley Vance

Untitled, 2012

Watercolor on paper

10 3/4 x 8 1/2 inches

27.3 x 21.6 cm

Lesley Vance

Untitled, 2012

Oil on linen

14 x 11 inches

35.6 x 27.9 cm

Mark Hagen

To Be Titled (Additive Painting #89), 2012

Acrylic on burlap over panel

68 x 52 inches

172.7 x 132.1 cm

Richard Hoblock

Sky High, 2011

Oil on canvas

18 x 14 inches

45.7 x 35.6 cm

Richard Hoblock

Moondream, 2011

Oil on canvas

18 x 14 inches

45.7 x 35.6 cm

Press Release

Anthony Meier Fine Arts is pleased to present a group exhibition of new paintings and sculptures by three artists, all exhibiting at the gallery for the first time: Mark Hagen, Richard Hoblock and Lesley Vance.

 

Using utilitarian materials including concrete, steel, burlap and house paint, Mark Hagen navigates themes of modularity, minimalism, DIY building and modern architecture. While his paintings are geometric with a neutral palette and a play on negative space, Hagen veers from this order in his sculptural works with the use of obsidian, a naturally occurring volcanic glass, supported by architectural steel armatures.

 

While similarly employing negative space, Richard Hoblock’s abstract canvases are a study in excavation. Heavily textured and complex, with surfaces that often appear frenetically torn to expose rich underlayers of color, Hoblock’s paintings maintain an elegance in balance with electric, lyrical tension and movement.  

 

In contrast to the terrestrial quality of Hoblock’s canvases, Lesley Vance’s abstract surfaces, while also lush in palette and depth, sit entirely in one uniform layer. Vance’s compositions engage still life techniques while intentionally navigating around the specificity of objects in order to illustrate that paint is able to construct its own world.

 

The juxtaposition of Hagen, Hoblock and Vance’s works offers a conversation on contemporary abstraction and abstract painting that employs similar tools to varied and interesting result.