This book is the first monograph on George Fullard (1923-73), one of the most inventive post-war sculptors, and the first complete survey of Fullard's sculpture exploring the themes, techniques and critical context of his works. The author explores the critical reception and cultural context of a diverse body of work. This ranges from the modelled figures made in the Cold War period and the idiosyncratic and unusual war assemblages of the 1960s through to the late enigmatic sculptures concerned with the sea.This monograph is a testament to the profoundly personal nature of the sculpture of George Fullard, an artist who explored the absurdities of life with a strong sense of irony.Gillian Whiteley is a full-time researcher and art historian, currently completing a doctoral thesis on Fullard's sculpture at the University of Leeds. Her previous writings on Fullard include 'The impact of the survivor: the sculpture of George Fullard (1923-73)', The Sculpture Journal, 1977 and George Fullard - A Fastidious Primitive, exh.cat. Yorkshire Sculpture Park, 1997. In 1998, she collaborated with the Mappin Art Gallery, Sheffield and Sheffield Hallam University to produce a major retrospective exhibition, Playing with Paradox: George Fullard, which toured to Kettle's Yard, Cambridge.
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