‘Slow Movement’ has been described by the writer Norbert Lynton as ‘a three-part, one colour sculpture that originally was much more complicated. Two triangular planes and one bar make up the whole thing, plus a coat of deep, resonant blue. The sculpture itself hints at perspective space with its triangular planes and to some extent evokes movement in space.’
Caro was one of the leading sculptors in Britain, confronting traditional sculptural processes and ideas. Following a visit to the US in the late 1950s, where he met leading abstract artists David Smith and Kenneth Noland, Caro’s work underwent a radical change. He ditched figuration and traditional modelling techniques, choosing instead to manipulate industrial materials to create a new abstract sculpture. At the same time he began to place his sculptures directly on the floor without a plinth. This brought the sculptures into a direct relationship with the actual space surrounding them.