Lucia Wilcox’s 1968 sculpture reveals a remarkable shift from the psychological atmosphere of her earlier painting toward a more distilled exploration of mass, contour, and movement. Composed of two interlocking organic forms, the work balances a rounded, almost spherical base with an elongated upper element that rises in a sweeping curve. The sculpture feels simultaneously grounded and weightless: its lower volume anchors the composition, while the upper form seems to stretch upward with a sense of growth or release.

The smooth white surface heightens the purity of the silhouette, allowing light and shadow to define the sculpture rather than color or descriptive detail. Its biomorphic character recalls the broader language of mid-century abstraction, particularly the interest in natural forms, bodily suggestion, and simplified organic geometry. Yet Wilcox avoids a direct reference to any single object. The sculpture can suggest a seed, a flame, a wing, or even a human figure in motion without resolving into any one image.

Created in 1968, the work demonstrates Wilcox’s continuing commitment to abstraction while showing her ability to translate the intuitive, lyrical qualities of her painting into three dimensions. The tension between the compressed lower form and the rising upper curve gives the sculpture its energy, transforming a seemingly simple arrangement of volumes into a dynamic meditation on balance, transformation, and upward movement.