[3] At the outset of his artistic path he created sculptures which inhibit space as static objects capable of being immediately perceived, and over the years the objects progressively diminished and the sculptural experience became an extended process of transitions in space and time, occurring in the landscape and blending into an organic succession of encounters between man and his environment.

We are sensitive to angles, to a narrow street we pass, to a riverbed, a steep slope, a sheer precipice, a falling shadow – all of these influence our feelings.”[6] He was fascinated by the relationship between man and animal, and between a world of order and disorder.

[8] To Danziger's way of thinking, the artist is an intermediary whose primary interest is to ensure the continued existence of that fragile encounter between man and the place he belongs.

[9] Danziger derived new methods using the interdisciplinary approach, combining the fields of ecology, geography, anthropology, and archaeology.

The Hebrew University of Jerusalem which had commissioned Danziger's statue was not happy with the result and religious circles made strong protests.

Within a few years, however, the statue was universally acclaimed as a major masterpiece of Israeli art, and has noticeably influenced and inspired the work of later sculptors, painters, writers and poets up to the present.

In 1946 Danziger went to Grande Chaumière in the south of France to work in the local sandstone, from which he sculpted large-scale figures and heads.

While entering art competitions, he supported himself financially restoring the facades of buildings such as the Neo-Gothic stone carvings on the Houses of Parliament in London.

In the same year, Danziger began teaching three-dimensional design in the Architecture Department at the Technion Institute in Haifa, a position he held for the rest of his life.

Danziger and seventeen sculptors from different countries were invited to participate in the cultural events of the 1968 Olympic Games in Mexico City.