As Richard Calvocoressi points out, moving away from the life -size human figure allowed Moore to invent ‘forms that interlock, touch, point, twist, split … soar upwards … repeat themselves’ and exploit the expressive power of a non-figurative language.
In Three Piece Sculpture: Vertebrae 1968 the forms, although organic as the title suggests, have been enlarged and reinterpreted to such a n extent that they appear almost machine-like.
BELOW: THREE PIECE SCULPTURE, VERTEBRAE, 1968. Bronze. The Henry Moore Foundation. Photo: Pete Huggins © Houghton Hall