 By dividing a form into two or more parts you relate it more closely to landscape. So you have the cliffs and valleys and chasms in this case that you might find in nature and of course his work comes from natural objects. The knife edge refers to this part of the sculpture where the form comes to a very fine blade and that sharpness derives from the edges of bones, in this case particularly the bones of birds. More really like the fact that with bones you have very solid forms but also very fine edges and so there's that contrast between a very elegant line and almost a fragility but also a real toughness in the material. This sculpture is one of a family of forms that come in different sizes. It's typical of Moore's work of the first half of the 1960s which famously are based on organic forms that he finds in the landscape. So in a way it's kind of archetypal of Moore's practice at the peak of his career when he's being commissioned to make or position sculptures in prominent places all over the world. What's unusual here is this strange dialogue between these sort of beautiful natural curves of his stones and bones and the sort of the Gothic decoration of the palace opposite. Avondale Green is a key location right next door to the Houses of Parliament and for decades it's where interviews have taken place. It's been the backdrop for life in Parliament and here we are next to the Henry Moore statue which has stood centre on it. It's been there over that 45 year period and has witnessed the many comings and goings. We're now at the waxing stage which is after we've patinaed the bronze and give it a wax coating which protects it from the elements. The idea is it will stay this colour instead of deteriorating. The challenges with a piece like this is the variation in surface. You have the very smooth areas which are the trickiest to work on. They're less forgiving than the rough textured areas that you might get with more historic bronzes. It's got a very contemporary modern finish you would say. Lots of varying colours which are quite challenging to achieve. The colour is beautiful. It's absolutely as it should be. The tones between dark and light and highlighting certain areas that project and darkening the crevices is exactly what Moore would have wanted. I hope now it's in the condition it was supposed to be. People will see it again. We become very complacent and blind to the things that are around us. As you walk through London or travel through on the top of a bus there are fantastic works of art. A number of them by Henry Moore all over the city and anything we can do to make people more conscious that art is actually a part of their everyday life without them realising it is the better. The most satisfying thing about working on a sculpture like this is the transformation. You look at the pictures from before and how it was so badly vandalised and it had all the inappropriate coatings on. And then you can look at it now and it's as good as what you might find in a museum which is really satisfying. Because it's just been restored and it looks absolutely superb people will see it fresh and new.