Born in the Southwest, my family moved to the D.C. area when I was four, where I first remember seeing artwork in museums.

Me intently painting (Alexandria, VA, ca. 1962)

We then moved to Rochester, NY when I was eight. By the age of 14, I knew that I wanted to be an artist, and began painting.

Mordor Mountains of Shadow’, 1974

The family moved back west to Tucson while I was still in high school. A couple years later, I went to the San Francisco Art Institute (SFAI).

Blood Brothers’ (1978), was the first artwork I sold as a student at SFAI

There I studied with notable artists of the Funk Art movement, which had developed out of the Beat culture in the Bay Area. Collected objects found their way into my work, which increasingly became sculptural, and sometimes performance.

(L) Application to MFA program at SFAI; (R) Graduation from SFAI, May 1979

For personal reasons I declined acceptance into the MFA program, and six months after graduation moved back east again to Rochester, where I settled.

After a several year break from artwork to start a family and train at NTID as a sign language interpreter, I returned to drawing and painting, then eventually sculpture and installation art.

Part’ (2000) was made during a weeklong residency and exhibited onsite in Kopf Los 2000, Freiluftgalerie Stötteritz, Leipzig, Germany

In my current practice, my assemblage sculptures are a precarious balance of contradictions with a sense of sturdiness and fragility coexisting simultaneously.

Naamah Nahemah’ (2021)

I don’t sketch ideas, then go off searching for objects to create them. Rather, I collect objects that catch my eye, attracting my attention as material I can use to create something compelling.

Chances Are’ (2021) was selected for New Directions – 37th National Juried Contemporary Art Exhibition, Barrett Art Center, Poughkeepsie, NY

Guided by intuition, I engage with the objects through playful experimentation in the studio. The materials are brought together into a composite form that stirs my curiosity and fires my imagination, leading me to a kind of ‘aha’ moment.

Then I figure out and engineer the internal connecting hardware necessary to hold together the parts as one form.

Through my work I seek to elicit the viewer’s own imagination. There is a certain magic that happens and transfers between the artist and the artwork, between the artwork and the viewer.

Pull It Together’ (2021), Jurors Award, Made In New York 2021, Schweinfurth Art Center, Auburn, NY

The three sculptures selected for Small Works 2021 reflect my interest in playing with scale, which can range from monumental works to ones that are an intimate size, able to be hand-held.

Pull the Plug‘ (2019), The Dash Collection. Made for PlayGround 2019

As with my larger assemblage works, the titles are taken from expressions and idioms that may have a subtle connection to the work, using a play on words.

Bottoms Up’ (2021)

Bottoms Up, comes from the fact that a couple of the components used in the sculpture are with their intended “bottoms” turned upward.

Pound for Pound’ (2020)

Pound for Pound, has all the presence and punch of much larger works.

‘Down Played’ (2021)

Down Played, has a downward push to the form.

See more of my work: https://www.LeeHoag.com
Follow me on Instagram: https://www.Instagram.com/lee.hoag
Follow me on Facebook: https://www.facebook.com/LeeHoagArt

Small Works 2021 includes 215 works of art by 136 artists from 28 state and runs through Thursday, December 23, 2021.

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