The abstracted figure has always been a visual preoccupation for Legge – particularly as it relates to the Japanese idea of “zan ketsu no bi” – finding beauty in something missing. Perhaps not beauty alone but that particular kind of beauty that is tied up with meaning - as in poetry where the heart of the matter might be found as much in what is omitted as in what is present.
Legge’s process is one of exploration and discovery. She regards the clay as a collaborator in her process. “I like to feel the breath within the skin of the clay,” she once remarked to an interviewer writing about her work, “When the clay is very malleable, you can capture that sense of life.” Her aim is not to replicate the human figure, but to get at something more essential – the human condition, the transitory nature of all things and the nobility of the struggle to find meaning.