She often combined found objects with her own hand-made additions, such as sculpted heads made from modelleing clay of dogs, monkeys and birds inserted into the necks of ceramic and glass vessels, or fastened onto pieces of sporting equipment like hockey sticks and cricket bats.

[6] Curator Anne Ellegood writes: Some hail from long-ago eras—protagonists of medieval mythology like the knight, the harlequin, the jester—while others are from the more recent past—beatniks, hippies, and other nonconformists.

[8] Comparisons have been made to the earlier work of Bruce Conner and Paul Thek and Upritchard's closer contemporaries Ryan Trecartin, Lizzie Fitch and Saya Woolfalk.

[4] Natalie Hegert writes: The care taken in the aesthetic choices of furniture reveals Upritchard’s interest in craft, further evidenced by her attention to textiles, lamps, jewelry, urns, and other accoutrements.

[4]In December 2001, Upritchard co-founded an artist-run space, the Bart Wells Institute, with fellow artist Luke Gottelier in a semi-derelict Hackney warehouse.

[9] The Bart Wells Institute ran for about two years and exhibitions were curated by artists including Sam Basu, Brian Griffiths, David Thorpe and Harry Pye.

[11] The installation, featuring a small mummy figure, wrapped in rags lying on the floor vibrating and moaning, surrounded by canopic jars, was shown at the Bart Wells Institute.

Upritchard's work resists photography and reproduction, and this too, in the age of overwhelming communications and surveillance technology, gives me a good feeling, somewhat of an escape route.

In their 2009 exhibition Feierabend at Kate Macgarry was an early outing of their collaborative works, mixing Gamper's furniture with Upricthard's sculpted figures and Fritsch's jewellery and objects.

[21] For their 2011 installation Gesamtkunsthandwerk for the Govett-Brewster Art Gallery's international group exhibition Stealing the Senses, Upritchard, Fritsch and Gamper collaborated with other New Zealand artists, most from New Plymouth: weaver Lynne Mackay, potter Nicholas Brandon, bronze-caster Jonathan Campbell, felter Pam Robinson, glass blower Jochen Holz and woodturners Jan Komarkowski and Peter Wales.

[2] Titled Loafers, the work consists of three bowl-shaped concrete plinths topped with Upritchard's idiosyncratic human figures, and several snake forms, cast from bronze.

Rie pioneered domestic-ware in Britain, and her small works were developed at the same time as huge outdoor bronzes and in my mind, share a sort of 1950's aesthetic.