Developing a unique sculptural approach which incorporated his fascination with ‘found’ objects, the method by which sculptures of this period were produced was a crucial element in both their physical appearance and their relationship to the work of other artists of the time. The objects (often as diverse as bark, model cars, clock parts, gramophone components and a dismantled ex-RAF bomb sight) were initially pressed into clay to form a negative relief, from which wax moulds were taken. These wax positives were then twisted, torn and fastened together and finally cast by the lost-wax technique as unique bronzes. This unorthodox method of working was important for the artist as it allowed him to combine his sculptural ideas with the collaged forms he had been working with previously during his time in the textile department of the Central School of Art and Design, transforming them into solid, three-dimensional objects.
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