In Hewitt's series of steel sculptures, the artist has industrially fabricated sheets of metal to be folded at 90 degree angles at various points of the same plane. These post-minimalist objects mirror navigation, perspective, and orientation within a built environment. The lines and planes of the white powder-coated steel may appear to unfold, bend, and shift as the viewer walks between and around the different parts. Each sculpture calls to mind the asceticism of Minimalism, one of the defining art movements in the 1960s, during the Civil Rights era, an often-overlooked concurrence that partially informs Hewitt’s sculptures. While the direct forms might initially seem entirely oblique, the surfaces are architectural planes, inviting viewers to consider alternate perspectives and orientations in space.
Works from this series were displayed at in Leslie Hewitt's exhibition "Contemporary Focus: Leslie Hewitt" at the Menil Collection, Houston, Texas and in "Collective Stance," 2016 at the Sculpture Center, New York. A set of the sculptures is in the collection of the Menil Collection, Houston, Texas.
There’s, There’s There’s, Hauser & Wirth Southampton, NY, USA
Reading Room, Perrotin, New York, NY, USA