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In 1965, George Wyllie decided it was time for art, and enrolled on short courses in painting and then welding, in Gourock. In the absence of a formal art school education, he looked to Glasgow’s famous Kelvingrove Museum and Art Galleries for inspiration and was enthralled by an Italian exhibition of semi-engineering sculpture related to agricultural machinery. A welding plant was purchased and, aged 45, he started on his ten object plan.

A remarkable success, it included a fairly literal collection of crusty objects, already imbued with a sense of the ridiculous: a dancing lamppost, a mortgage climbing up a wall, a bishop which gave the viewer a blessing when rocked back and forth.