In many of the early 70's works, the figurative nature of the sculptures seem to dissolve in rhythmical abstract elements, as in the case of the "Talkative woman" (1972), "Child", "Head of a Dolphine", "Animal�s Head " and "Torso" (1973), "Future Man", "Female Torso" and "Sleeping Technocrate" (1974) as well as "Screaming head ", "Embryo" and "Monk's Head" (1975).
Towards the end of the decade, the bronze sculptures are increasingly characterised by contrasts between curved and angular shapes, as well as a new kind of charge in terms of the theme. Already the "Quiet American" (1973), with its stylised, yet abnormally tight, cross mouth oozes a power of suggestion typical for surrealism, yet the changing language of form only becomes visible in later works, such as the dualistic "Silenced" (1975), where the figure, simplified to a cylinder, seems like it has fallen into the uncompromising jaws of a giant fish.
The "Warrior" and "Head of a Woman" share an appealing humanity, as well as the power of the geometric shape, along with the masculine "Lieutenant" and the feminine "Arc". This particular stylistic period in Bjorn Weckstrom's
work, with its roots in figurative, yet strongly abstract geometric shapes, produced two later bronze monuments, both of whom can be found in the centre of Helsinki, the "Whistler" and the "Fazerin Kukko" (Fazer's Rooster). The partly abstract organic language of form, implemented in patinated bronze, resonate well with the Empiresque architecture of the City centre.
The "Triumph Arch Under Construction" is an interesting piece of free work, which plays on the paradoxes of size; the arc is formed by a human, feminine knee, rising from the depths of the Earth to unknown heights. The impression is highlighted by a surrounding by a scaffolding-like construction. Even the surface holds a paradox: the smooth skin invites to touch and caress, yet the cold metal also frightens and expels. Even the scaffolding conveys a double message: the image of the clumsy nature of human endeavours also expresses hope and the uplifting power of co-operation.
The "Biomechanical hand", monumentally reaching straight up, is a prelude to Mr. Weckstrom's "reflective realism", his profound analysis of our time. The hand-the image of understanding - is developing into a machine. The viewer is struck by a painful question: what is happening, what's going on? How does our take on the world change? The (literally!) gripping display of the estrangement of modern Man from nature can be seen by machines replacing our limbs and what will follow? We are getting replacements for our limbs, extensions and sturdy prostheses, but what are we losing?
