Phillip King’s early works of the fifties were generally small and made in clay and plaster, they were described as being of a robust Brutalist and Surrealist nature. In 1962, he started to use fibreglass and colour, and seminal works such as ‘Rosebud’, ‘Genghis Khan’ and ‘Twilight’ brought King’s work to the attention of the art world in 1963. These gave way to large and small–scale abstract sculpture, which often combined various materials. In the late eighties, King turned to a more figurative way of working, before moving on to make large–scale ceramic vessels using a rough mix of clay and newspaper. During the nineties, King spent long periods working in Japan, learning to make ceramics on a very large scale. In later years, he returned to using colour in his work, covering solid forms with dry pigments and allowing them to drift, making free–formed shapes. Over the course of his career King has worked in a variety of different media including ceramic, steel, plaster, wood and, plastics and PVC. King's larger constructivist forms have incorporated a sophisticated and highly personal use of colour and a poetic, even lyrical, use of form that belie their materials.