This is Glynn Williams' largest sculpture to date, of which there are two casts in bronze. The piece is typical of Williams' work, demonstrating his unique blend of figuration and abstraction. He first employed the notion of slicing into naturalistic forms and shifting the pieces into new relationships in Portrait with Flowers (1990-91), which was shown at the Cass Sculpture Foundation during the first season. The dynamism which shaped his method of working can be seen in the hands, which from the front appear realistic, but from behind take on a formal ambiguity. With the hands, the implied movement of opening the palm in a gesture of welcome is underlined by the centre sections of each hand being sliced and swivelled, out in one, slightly inward in the other; pushed forward in one and slightly back in the other. The way in which the hands interact is also curious. Having been parted in the gesture of greeting, they are sited as two separate elements, but the composition remains as one, largely through the continuation of strong diagonals. Such compositional devices were used by the cubists in their quest for a better understanding of form. In Picasso's Glass of Absinthe, he moved portions of the glass and its contents into new relationships to produce a two-dimensional visual totality of a three-dimensional whole; here Williams brings the same logic to sculptural perspective.