Tony Cragg began making work at a time when Minimalism and Conceptual Art were developing rapidly. As such Cragg recognised the need to produce work that developed 'an alphabet of sculpture' from pre-established conventional art materials and techniques. In the 1970's his works were mostly made with found objects through which Cragg questioned and tested material possibilities. Later pieces demonstrated a shift of interest to surface quality and how this could be manipulated through unlikely juxtapositions of materials such as bronze, steel, plastic, rubber, glass, wood, plaster and more. These found works developed into a series of fabricated vessels, which he titled Early Forms in which Cragg’s interest was in the idea of a container as metaphor for the body. His later works, known as Rational Beings, develop this interest into a series of articulated columns, no longer concerned with the organic, but with the dynamic. In these works profiles emerge and disappear from their surfaces and thereby push towards a new abstracted understanding of the human figure. Recently he has been confronting notions of compression and expansion in his works where recognisable forms such as facial profiles, although distorted, become apparent. These works have an almost futuristic element to them, reminiscent of technology synonymous with 3D printing or engineering more familiar at NASA.