In his wall works, maquettes, and freestanding objects, Robert Moreland’s constructions represent an arresting intersection between painting and sculpture. With hand-stretched canvases along angled wooden beams, held together cleanly by hinges, tacks, and leather straps, Moreland’s works are as much an investigation of material as they are a declaration of objective unity on a minimalist picture plane. Jutting into the gallery space, and often warped or creased along parallel lines like folding partitions or the pages of a book, Moreland’s large works minutely alter the space they are in, provoking a relationship of direct proximity with their viewers.

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