PANGOLIN’S  intimate space is the ideal setting for this retrospective of work by one of Britain’s most important, if sadly neglected, British sculptors.

Sheffieldian George Fullard’s  work has both a succinct realism, with its stunning fluidity and clarity of form, as in Three Women, and an equally assured grasp of  assemblage, epitomised by Pregnant Women.

Fullard had an optimistic disposition to fellow humans and, a rarity among sculptors, a sense of humour — best exemplified by the comically ponderous and visibly inept Phoenix with wrenches for legs and forks for wings.