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Julian Hoeber: Binocular Rivalry

Julian Hoeber: Binocular Rivalry

June 5-July 11, 2026

Opening reception: June 5, 5-7pm

Jessica Silverman is pleased to present “Binocular Rivalry,” Julian Hoeber’s fourth solo exhibition with the gallery, on view June 5 through July 11, 2026. The exhibition features new paintings, a wall-mounted sculpture, and a new video work presented with 3D glasses. The show is informed by the artist’s ongoing engagement with stereoscopic vision, or the brain’s process of registering a single image from the inputs of each eye. In an increasingly technological and image-saturated world, Hoeber’s work reminds us of the complexity of visual perception. This exhibition highlights the viewer’s sense of vision as an active operation instead of a passive act.

The paintings in the exhibition are inspired by the stereoscope, a device invented in the 19th-century that enabled seeing a 3D image from two distinct 2D images. The exhibition title references a visual phenomenon, or conflict, that occurs when each eye is presented with different images, and the brain alternates between them, or perceives a fragmented mashup of both. Depicting everyday surroundings as two juxtaposed images, Hoeber’s paintings invite us, in his words, to “see yourself seeing.”

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INSTALLATION VIEW
SELECTED WORKS
ARTIST BIO
OTHER EXHIBITIONS

INSTALLATION VIEW

SELECTED WORKS

Julian Hoeber
Binocular Vision, 2026
Oil, acrylic, and Flashe on linen over panel
65 7/8 x 66 x 3 1/4 inches / 167.3 x 167.6 x 8.3 cm
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Julian Hoeber, Binocular Vision
Julian Hoeber
Grid Multiplicities (After Caulfield), 2026
Oil, acrylic, Flashe, colored pencil, graphite, and water-based silkscreen ink on linen over panel
44 1/8 x 44 1/8 x 2 1/4 inches / 112.1 x 112.1 x 5.7 cm
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Julian Hoeber, Grid Multiplicities (After Caulfield)
Geometric patterns function as framing devices throughout the show. In the painting, Binocular Vision (2026), a triangular pattern—adapted from Anni Albers—is layered on painterly swathes of deep purple, blue, and gray, and surrounds two small windows that look upon a dark landscape set ablaze. The abstract patterns represent optical phosphenes, or images the brain produces in the absence of external visual input.
Julian Hoeber
Costus Comosus, 2026
Oil, acrylic, Flashe, and collaged Bristol paper on linen over panel
49 1/8 x 61 1/8 x 3 3/8 inches / 124.8 x 155.3 x 8.6 cm
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Julian Hoeber, Costus Comosus
Julian Hoeber
Cacti, 2024
Oil, acrylic, Flashe, and graphite on linen over panel
22 1/2 x 31 1/2 x 2 1/8 inches / 57.1 x 80 x 5.4 cm
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Julian Hoeber, Cacti
Julian Hoeber
Monstrose (The Beautiful Mutant), 2026
Oil, acrylic, and Flashe on linen over panel
61 1/8 x 49 1/8 x 3 3/8 inches / 155.3 x 124.8 x 8.6 cm
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Julian Hoeber, Monstrose (The Beautiful Mutant)
Julian Hoeber
Pink Moth Orchid Pink Moth Orchid, 2025
Oil, Flashe, acrylic and graphite on linen over panel
38 x 49 1/2 x 2 1/2 inches / 95.3 x 124.5 x 6.3 cm
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Julian Hoeber, Pink Moth Orchid Pink Moth Orchid
Julian Hoeber
Cacti, 2024
Oil, acrylic, Flashe, and graphite on linen over panel
22 1/2 x 31 1/2 x 2 1/8 inches / 57.1 x 80 x 5.4 cm
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Julian Hoeber, Cacti
Julian Hoeber
Monstrose (The Beautiful Mutant), 2026
Oil, acrylic, and Flashe on linen over panel
61 1/8 x 49 1/8 x 3 3/8 inches / 155.3 x 124.8 x 8.6 cm
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Julian Hoeber, Monstrose (The Beautiful Mutant)
Julian Hoeber
Pink Moth Orchid Pink Moth Orchid, 2025
Oil, Flashe, acrylic and graphite on linen over panel
38 x 49 1/2 x 2 1/2 inches / 95.3 x 124.5 x 6.3 cm
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Julian Hoeber, Pink Moth Orchid Pink Moth Orchid
The 5-by-4-foot painting Monstrose (The Beautiful Mutant) (2026) depicts a rare cactus with erratic, sculptural growth patterns. Inspired by a gift Hoeber gave to his wife, the painting ushers the viewer down a trail of bodily and cerebral inquiry, where the mechanics of looking are augmented by memory. The background of the work shows a grey and white atmosphere with optical patterns and the ghost image of a portrait of Hoeber’s much loved former studio assistant.
Julian Hoeber
Night Studio, 2026
Oil, Flashe, and acrylic on linen over panel
39 3/4 x 50 7/8 x 2 5/8 inches / 101 x 129.2 x 6.7 cm
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Julian Hoeber, Night Studio
Julian Hoeber
Burnt Cove, 2026
Oil, Flashe, and colored pencil on linen over panel
19 1/2 x 25 1/4 x 2 1/2 inches / 49.5 x 64.1 x 6.3 cm
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Julian Hoeber, Burnt Cove
Night Studio (2026) is saturated with visual metaphor, showing two corresponding images of Hoeber’s workspace exterior after twilight. The building becomes a stand-in for a head—with windows representing eyes, and the door as a mouth—cleverly illuminating the trajectory of the artist’s creative input and output. The work honors a cognitive space in which the artist’s own thoughts and stimuli are transformed: starting with the mind, traveling through the body, and arriving at the painting’s surface.
Julian Hoeber
Looking From Antwerp Across the Schelde River, 2026
Oil, acrylic, Flashe, and water-based silkscreen ink on linen over panel
33 3/4 x 43 1/4 x 2 1/2 inches / 85.7 x 109.9 x 6.3 cm
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Julian Hoeber, Looking From Antwerp Across the Schelde River
Julian HoebJulian Hoeber
Two Smokestacks (After Degas), 2026
Oil, acrylic, Flashe, water-based silkscreen ink, aluminum, and hardware on linen over panel
37 1/4 x 52 1/4 x 2 1/8 inches / 94.6 x 132.7 x 5.4 cm
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Julian Hoeber, Two Smokestacks (After Degas)
Two Smokestacks (After Degas) (2026) inverts this route, beginning with the outside world, showing twin clouds of white vapor rising against an azure California sky. A swirling red-green checkerboard moire pattern and black-and-white striped circle creep into the left and right sides of the work. In these painterly interruptions, Hoeber moves beyond the smokestacks as pure symbols of machinic production and, like Degas, challenges us to see beyond the recognizable.
Julian Hoeber
Ways of Seeing (Binocular Rivalry), 2023
Plywood, aluminum, ultracal, inkjet prints, mirror, vinyl paint, gouache, acrylic, and found objects
24 3/4 x 50 x 21 3/4 inches / 62.9 x 127 x 55.2 cm
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Julian Hoeber, Ways of Seeing (Binocular Rivalry)
Julian Hoeber
Counterpoint, 2026
Single-channel high-definition video with sound, and 3D glasses
Duration: 4'31'
Edition of 3 plus 1 artist's proof
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Julian Hoeber, Counterpoint
“Binocular Rivalry” encourages and celebrates the gaze as active and contemplative. The artist pushes sensory processing beyond the subconscious, exploring vision as biologic, cerebral, and conceptual. This way of seeing encourages a more thoughtful engagement with our environment, framing reality as a dialogue between our eyes and our expectations.
Julian Hoeber (b. 1974, Philadelphia, PA) received an MFA from ArtCenter College of Design in Pasadena, a BA in Art History from Tufts University, and a BFA from the School of the Museum of Fine Arts Boston. He has had solo exhibitions at the University of the Arts, Philadelphia and the Hammer Museum, Los Angeles, among others. His work is in the permanent collections of MoMA, New York; MOCA Los Angeles; de Young Museum, San Francisco; Hammer Museum, Los Angeles; Dallas Museum of Art; Nelson-Atkins Museum of Art, Kansas City, MO; Rubell Family Collection, Miami; Nasher Sculpture Center, Dallas; and Deste Foundation Center for Contemporary Art, Athens. His work has been included in group exhibitions at MAK Center of Art and Architecture, Los Angeles; Desert X, Palm Springs, CA; Tang Museum, Skidmore College, Saratoga Springs, NY; and Nasher Sculpture Center, Dallas. His fourth solo show with the gallery will open in June 2026. He lives and works in Los Angeles. He is represented by Jessica Silverman, San Francisco.
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