Wetwang Slack, Bronze Bozzettos (Cabinet Two) consists of 49 miniature sculptures, each cast in bronze or shibuichi at a 1:20 scale. These works originate as study models—bozzettos—for Upritchard’s larger sculptural works, both realised and speculative. Developed as part of her exhibition planning process, the models are inserted into handmade architectural maquettes created for each solo museum show. Together, they form a working archive of figures, gestures, and ideas—some of which evolve into full-scale sculptures, while others remain unrealised as imagined possibilities or diverging paths.

This particular set of bozzettos was created in preparation for Wetwang Slack (Barbican Curve, London, 2019). Shown nearby were the larger works they informed, including the Wetwang Slack Reliefs with centaur figures, and two full-scale sculptures: Fishing Long Legs Long Arms and Stretching Long Legs Long Arms. Displaying the bozzettos in this context allowed Upritchard to draw attention to the recursive, generative nature of her process, and to question hierarchies between the small and the monumental.

The original models were made using Model Magic, a soft, low-grade children's modelling compound selected for its immediacy, lightness, and the way its surface mimics Balata rubber when scaled down. Although unsuitable for precise bronze casting, Upritchard intentionally embraces the material’s tendency to warp and fail, resulting in casts that feature pitted textures, incidental holes, and fragmented forms. These imperfections are central to the aesthetic: they evoke erosion, damage, and artefactual age, aligning with the artist’s ongoing interest in time, decay, and sculptural incompleteness.

The use of shibuichi—a traditional Japanese copper-silver alloy—further adds a sense of mineral density and historical reference, enhancing the ambiguity between relic and prototype.

To house these miniature sculptures, Upritchard designed Cabinet Two, a bespoke museum-style display case that draws on the language of postwar Italian exhibition design. Referencing the work of Carlo Scarpa and BBPR, the cabinet recalls the golden age of museography—when exhibition furniture was conceived as part of a total spatial and sculptural experience. Heavy, architectural, and formal, the cabinet confers gravitas onto the slightness of the works it holds, destabilising assumptions about scale, value, and the finished object.