the human body in ways that would have been recognizable to people from the past. Weston, indeed, linked the female body to the forms of vegetables and driftwood, but only in unemotional graphic ways.

In this last century, any new depiction of the human body that did not rest upon traditions came largely from the hands of sculptors. Henry Moore, Marino Marini, Isamu Noguchi were only some of the artists who visualized the human body afresh. Someone like Noguchi, whose stage sets for the famous modern dancer Martha Graham had far-ranging influence, created new, exciting and disturbing forms. As did Graham herself in her dance movements. Together they explored the forms the human body could create and the emotions it could thus evoke. In both cases, the results had little in common with traditional art and dance of the time.

It is from the work of these artists that John Casado seems to have been influenced. In a changing world where events, relationships and emotions may be at great variance with the past, there is a need for art that reflects these changes.

John Casado, in his search for ways to communicate these new views of the world, says that,