After the making of the three-part lead bodycase works, I started making single lead bodycases for a standing man: 

Untitled For Francis, Breath, Address, Part, Ask, Standing Ground, Peer, Across The Air, Moment.

 These works tried to repossess the standing male figure, but in a different way from heroic sculpture. 

 uses the allusion to the stigmata to make five eye-shaped holes that give access to the darkness of the body. 

 has bullet holes of the same calibre as 

, again, reinforces the relation between the horizontal of the arms and the horizon, later found in 

allows the two ends of the spinal column to look at each other and engages the tension between sexuality and intelligence. 

 attempts to communicate across distance using a Tibetan tongue greeting. 

 suggests an ecstatic point of disequilibrium. 

 is a self-referential empty case in human form. Trying to link an internal state with a thing, with reference to the ‘I’ box of Robert Morris, or the black buried cube of Tony Smith. 

 all deal with this objective correlative for the subjective space: the darkness of the body, relating sometimes to melancholy and to the night sky, as in 

. These isolated, crouching self-reflexive works culminate with 

: a bodycase in the form of giving birth or shitting - a reference to self-determination through the production of another object that has been gestated through the body.

The last group of single bodycases deal directly with the surface of the earth, like

. All of them try to deal with the horizontal of the ground and the relationship between the skin of the body to the skin of the earth. 

 is a work for Walter De Maria: with one eye open and one arm out, it is a direct reference to his mile-long chalk drawing. 

 tries to reconcile, through the body, the forces of centrifuge and gravity.

The culmination of these investigations was 

has six clear positions like a dice: it has no correct way up or orientation.

Early Single Lead Bodycase Works

, 1983, lead, air and fibreglass, 79 × 41 × 65 cm.

Night

, 1983, lead, granite, plaster and fibreglass, 33 × 212 × 93 cm.

Untitled [Sleeping Figure]

, 1983, lead, fibreglass, plaster and air, board: 76 × 137 × 25 cm, figure: 192.5 × 51 × 91 cm.

Untitled [Diving Figure]

, 1983, lead, fibreglass and air, 64 × 60 × 60 cm.

, 1984, lead, fibreglass and plaster, 25 × 203 × 205 cm.

Fill

, 1983-84, lead, fibreglass, plaster and air, 37 × 54 × 202.5 cm.

Rise

, 1983-84, lead, fibreglass and plaster, 90 × 204 × 50 cm.

Reach

, 1983-84, lead, fibreglass, plaster and clay, 160 × 90 × 65 cm.

Hold

, 1984, lead, fibreglass, plaster and air, 80 × 56 × 80 cm.

Proof

, 1984, lead, plaster and fibreglass, 178 × 48 × 50 cm.

Vent

, 1984, lead, fibreglass, plaster and air, 168 × 50 × 66 cm.

Address

, 1984, lead, plaster and fibreglass, 188 × 50 × 43 cm.

Peer

, 1985, lead, fibreglass, plaster and air, 206 × 67 × 30 cm.

Moment

, 1985, lead, fibreglass and plaster, 187 × 120 × 33 cm.

Untitled [For Francis]

, 1986, lead, fibreglass and water, 188 × 60 × 45 cm.

Sound I

, 1986, lead, fibreglass and plaster, 192.7 × 172 × 36 cm. Photograph by Stephen White, London.

Membrane

, 1986, lead, fibreglass and water, 188 × 60 × 45 cm. Permanent installation, Winchester Cathedral, Winchester, England. Photograph by Louis Bustamante.

Sound II

, 1986, lead, fibreglass, plaster and air, 38.5 × 108 × 196 cm.

Facing The World

, 1985-86, lead, plaster, fibreglass and air, 50 × 176 × 53 cm.

Plateau

, 1986, lead, fibreglass, plaster and air, 197 × 54 × 35 cm.

Untitled

, 1986-87, lead, fibreglass, plaster and air, 193 × 191 × 35 cm.

Standing Ground

, 1986-87, lead, fibreglass, plaster and air, 193 × 50 × 38 cm. Photograph by Stephen White, London.

Early Single Lead Bodycase Works

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