Two Piece Reclining Figure No3. at the UEA, Norwich

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The two-piece reclining figure series began in 1959, but its roots stretch back to earlier multi-part figures created in the 1930s. Moore used a broken composition to emphasize the significance of space as a vital sculptural element. He explained that 'the Two-Piece Reclining Figures had been working their way into my mind for years.' As far back as 1934, he had crafted smaller pieces composed of separate forms, two- and three-piece carvings in ironstone, ebony, alabaster, and other materials. These earlier works were more abstract than the series that followed. Moore said it wasn't a deliberate or intentional move to break up the figures, but those earlier works may have had something to do with it. He didn't create any preliminary drawings for these pieces; he simply made the first one in two parts almost by accident. After completing the initial piece, the second one became a conscious idea. Moore realized that a separated two-piece composition allowed him to relate figures to landscape in a unique way. Knees and breasts can be seen as mountains. With two separate parts, you don't expect it to be a naturalistic figure, so you can justifiably make it resemble a landscape or a rock. If the figure is singular, you can guess what it will look like; with two pieces, there's a greater surprise, and more unexpected views are possible. This allows for the special advantage of sculpture over painting - the possibility of many different views - to be fully exploited. The front view doesn't allow one to foresee the back view. As you move around it, the two parts overlap or open up, creating space between them. Sculpture is like a journey; you have a different view as you return. The three-dimensional world is full of surprises in a way that a two-dimensional world could never be. Moore, who was born and educated in Castleford, Yorkshire, would have been aware of the striking rock formations evoked by the Bridestones near Scarborough and Brimham Rocks near Harrogate, which are powerfully echoed here. This object is part of "Scan The World", a non-profit initiative introduced by MyMiniFactory, through which we're creating a digital archive of fully 3D printable sculptures, artworks, and landmarks from across the globe for public access free. Scan The World is an open-source community effort; if you have interesting items around you and would like to contribute, email stw@myminifactory.com to find out how you can help.