In the 1950s McWilliam explored the expressive nuances of both modelled and assembled materials, pressing objets trouvés into the clay and then casting them out, achieving what he described as a 'surface that rhymed with but was not the Celtic Thing' (see T.P. Flanagan, F.E. McWilliam, Ulster Museum exhibition catalogue, Belfast, 1981, p. 24).
A study for Mother and Daughter, 1956 is illustrated in R. Penrose, McWilliam, London, 1964, no. 41.