By manipulating form according to the chosen material (generally wood and metal), Richard Deacon (1949) remains faithful to the language of the new English sculpture of the 1980s. Each new work is subjected to the tension and constraints of volume and perfection. The two structures occupy and dissect space and are imposing because of their continuity and aerial amplitude. The forms are created as surfaces or profiles rather than solid masses. Untitled (1980), which opens up to the outside with a metallic rigidity, responds to Eight (1997), a structure closed in on itself. Both synthetic and organic, sculpture is conceived and perceived in splendid isolation.