Piers Secunda explores the boundary between painting and sculpture in works that dispense with canvases and supports and address the materiality of paint. In Flag (2003), a rough-hewn, painted rectilinear form juts out from the gallery wall at a perpendicular angle, challenging the two-dimensionality of painting and altering a viewer’s experience of space. In recent years Secunda has drawn socio-political content into his forms: in 2008 he began working with crude oil, treating it as paint in works that explore humanity’s relationship to resources; for his "Taliban Relief Paintings" (2011), he travelled to Kabul, Afghanistan to cast bullet holes from scenes of suicide bombings, then incorporated these into reliefs. Describing his manipulation of paint, Secunda has said, “I cast, pour, heat, tear, smash, assemble, fuse, wrap, clamp, bolt and color it.”