But what makes Warwick’s abstractions suggestively human is his ingenious use of a mirror. It puts the viewer and the work in the same frame by reflecting both. It makes the work uncanny even as it draws the viewer into it, establishing an intimacy of sorts. Moreover, the mirror is an age-old symbol of that other world, the unconscious. It adds an introspective dimension by displacing us into another world – a magical space, like ours but unreachable. For Swedenborg, each of us has a mirror-image that exists in heaven, and for Cocteau the mirror was a realm unto itself, only more unpredictable. Warwick’s doubling of his rigorously abstract sculptures confirms their inner subjective meaning, which becomes explicit in their mirror.