In Vance’s recent work, bands of monochrome paint overlap with long, calligraphic streaks of indeterminate color, their various pigments brushed into a tertiary swirl. Other paintings intersperse sinuous, coal-black marks next to deeply saturated fields of chromatic strata. There are no starts or stops to any of these circuitous forms, but trompe l'oeil bends and folds which recede outside the picture plane.

These seemingly infinite arcs of color are barely contained by the modest size of Vance’s canvases, the largest of which have been scaled up from recent exhibitions to three feet in length. Even this slight increase in surface area has greatly augmented the potential for movement and gestural abstraction in what are some of Vance’s most complex compositions to date.