Several helping hands were needed in the production of Margo's works. All process steps were done in this premise with the exception of stone or bronze works. The man in the background is reinforcing a plaster-cast with wooden slats while the other two struggle to get the smooth surfaces required for the shiny varnished objects.
Margo's studio in Rome (1968).
At the foreground: „Anona“ in the making.
Work in progress 1970.

„Creazione“, the blue figure serves as a model for the much bigger „Sat & Tat“. Serving as a skeleton for the future clay covering, a wooden frame is covered with a lattice of flexible ledges and later with metallic mesh-work.
Margo in her roman studio 1968, where she worked till1985 before moving back to Switzerland.

The sculptures were first modelled in clay. Plaster-casts were then made, and from them the plaster figures in this picture. Next steps would be the final touch up of the surfaces, then a polyester mold (negative) used to cast an edition of final figures in fibreglass reinforced polyester. Surface finishing, priming and varnishing in brilliant colors would complete this lengthy process.
„Power Flower“ (1973) ready for paint-spraying.

On the shelve are some reusable polyester negatives made of several shell parts fastened together. The final objects are cast inside such molds with liquid resin reinforced by fibreglass.

Margo modelling „Grande Incinta“ (1966) with clay.
In the background: one of many portraits realized between 1959 and 1966.