Many of the sculptures of this period are monoliths related to the artist’s own height. They stand like symbols of his own physical presence, as if anticipating the places of ritual that deserve to house them: the courtyards, platforms, stages, ladders, recesses and portals yet unbuilt. They would be full-scale versions of the forms which populate his best-known, small scale, bronze sculptures such as 'Ancestor Pad', 'Indoors-Outdoors' and '20th Century Pad'. As their titles suggest their basic shape resembles a pad or platform, or the surface of a landscape. From the platforms spring architectural forms which extend the surface upwards or downwards providing space for a variety of ambiguous forms to relate to each other. These relationships can be questioning the laws of genetics, or the examination of the miraculous sets of circumstances which go towards the making of recognisable personalities. They can pose questions on the nature of exterior and interior space, whether, for example, an interior space can be defined as such if the human mind which inhabits it is full of memories or imaginings of the out of doors.

Richard Demarco, catalogue essay, 1978 (edited)