Two unequal barley-twist columns rotate on their vertical axes, one clockwise, the other counter-clockwise. The wider column has at its apex a sphere which appears to balance precariously, like a ball on the nose of a circus seal. Such literal description denies the poetry and rhythm of the sculpture which comes to life when the columns are in motion - they dance together, intimate but at a constant distance. Reflections in the highly polished stainless steel, interesting when static, are lyrical when seen against the moving rippled surface: they appear to expand and contract, rise and fall, explode and implode according to one's view. Such a sculpture is always different, reflecting seasonal qualities of the woodland, viewer's clothing or light throughout the day and night. A distant view is engaging because of the brightness of the sculpture, but also because of its enigmatic kinetic qualities. Even close up it is difficult to tell how the sculpture works and which way the separate elements turn. This is all a part of the game that George Cutts plays with our perceptions. The work draws us in however perplexed we may be by the mechanics of movement when applied to shape and form which are already endowed with curve and twist in their static state. Of the three kinetic sculptures commissioned from George Cutts by the Cass Sculpture Foundation, this is most solidly sculptural while maintaining an equally magical presence.