In her photo-sculpture series, titled Spiral and Loop, Hewitt presentsa collection of still-life photographs encased in custom-crafted wooden frames, leaning against the wall at a precise 15 degree angle.Hewitt captures these images in her studio, utilizing a fixed cameraangle and playing with the soft illumination of the natural light floodingthrough the windows. Within each of the compositions, Hewittthoughtfully juxtaposes personal objects–a stack of books, an abstract drawing, or found photographs from family and friends–with rawmaterials–wood and stone. Hewitt’s meticulous placement of objectsconfines these materials within a transitional space where theyundergo a choreographic and geometric arrangement, but are ultimately all influenced by her own hands. By displacing and repositioningthese objects in the camera’s fixed space, Hewitt is able to achieve aprofound sense of balance and harmony, manifesting in each work asa gentle and nuanced unfolding of visual phrases.

Alongside her photo-sculptures, Hewitt presents two industrially fabricated steel sculptures. These sheets of metal were folded at differentpoints along the same plane, forming an array of visually striking90-degree angles. These geometric forms not only captivate theviewer with their aesthetics, but also mirror an industrial environmentin the way they embody themes of navigation, perspective, and orientation. Through their dimensions and sharp angles, the structures respond to the doors, windows, and corners of the space, blending intothe gallery’s architecture, further emphasizing Hewitt’s understandingof spatial relationships.

In the series Daylight/Daylong, Leslie Hewitt encapsulates herresearch conducted at the Chinati Foundation, in Marfa, Texas througha captivating collection of diptych photographs. Each composition features a striking interplay between the left and right side. On the left,Hewitt captures the magnificent and radiant sunrise stretching acrossthe West Texas horizon. In response, the right side depicts an abstractrepresentation of her sensory encounter with Dan Flavin’s 1996 lightinstallation, Untitled (Marfa Project) which, through low-pressure mercury-vapor gas-discharge in fluorescent tubes produces intense ultraviolet light. Her frames are set at varying depths within artist-designedwooden boxes, adding a three-dimensional quality to the works. Theseslanted frames entice viewers to walk around the works and engagewith them from varying angles, thus prompting a personal contemplation of altered perspective. The works blend light and color, and workto bridge the gap between past and present, time and space.