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The British Henry Moore encountered the possibility of projecting his imagination into public space.
His influences were:
archaic art that freed him from subjection to the model from nature;
Arp and Picasso steered him towards a more abstract expression that sought less to reproduce than to create organic forms justified solely by their presence and expression by their vitality the growth he discovered in
the natural elements he began to collect: bones, pebbles, tree-stumps, seashells.
The products of nature inspired his direct carving.
He was to carry over this experience with metal into
alabaster and granite, compact materials which react to light,
that light which steel and later Cor-Ten steel (rusted steel)
would led him to prefer in more serene architectural compositions where the impact of gesture vanished in the continuity of spirals, drawing the spectator inward to the hollowed-out centre of the heart.
These knots of metal opened onto the mystery of the infinite and the void. Chillida became a builder of the invisible.