Barker recounts his time at Vauxhall Motors during 1960-61,' Mostly, I suppose, I worked on seats, and a bit of chromium stuff. I was on seats for about six months. Behind me, and a bit futher down from me were great skips, full of Lucas lamps. Chromium-plated on the inside. Those skips, filled up like that, seemed fantastic objects. Looking back, the leather and the chrome was very important. But at the time I didn't think it' (in interview with Peter Fuller in 1975).
In Seat 'the act of creation is equated with the replication of an object already in existence, or with the fabrication of a familiar type of object ... the source was merely a functional object, certainly one that has been designed by someone but not intended to be appreciated primarily for aesthetic reasons (A.J. Fermon & M. Livingstone, Clive Barker Sculpture Catalogue Raisonné 1958-2000, Milan, 2002, p. 15). However 'by remaking it and presenting it as an object for visual delectation does it become a work of art' (ibid. p.15). During Barker's time on the assembly-line he says,' Only the top of the range seats had studs, but only a few, not as many as in Seat (Clive Barker, private correspondence, 31st October 2007). Here we are confronted with the ultimate Seat.