Though dating from a later period, sculpture echoes a trend started by the artist in the early 1970s, when she began moving away from traditional sculpture materials on behalf of more lightweight and softer ones, She embraced plywood, papier-mâché, and above all, textiles (sewn, quilted, embroidered); the colour pink became her trademark. The tower motif appears in several earlier works and, like other objects used by the artist, is metamorphosed: set in rotary motion, it is brought to a shape resembling a snail’s shell. Pinińska-Bereś so explained her choice of motif: ‘Towers … are situated between phallic sculpture and architectural sculpture. They share the characteristics of both. Why towers? Because they are, they provoke, because they protrude like that’ (Gorsety i Wieże [Corsets and towers], manuscript, 1994, in Maria Pinińska-Bereś. 1931–1999, exh. cat., Kraków: Galeria Sztuki Współczesnej Bunkier Sztuki, 1999, p. 125).