The scale of Angus’s work is greatly influenced by his interest in and appreciation for public art.
He uses a variety of materials and textures for inspiration and oscillates between rigid and pliable, permanent and fleeting to achieve a physical language that connects and engages both visually and intellectually with a wide audience, as he seems determined to produce work that is not exclusive. This is apparent in his use of straw to thatch three monumental human heads. Angus sculpts ‘past completion’, waiting for the sculpture to deteriorate before he captures and casts it. So, instead of casting as the sculpture is moulded and complete, he waits for the material to corrode, to crumble, the corroding of material itself telling the whole story. It becomes a cycle of continuity and discontinuity as the process of making the work involves constantly breaking down and re-building.
Angus is concerned with the collective rather than the individual. Once completed, an artwork is owned not only by the artist but immediately by society. As he draws inspiration from everybody and everything, they are therefore just as much a part of the work as he is. He also constantly attributes his success to the team that works with him, and believes it is because of them that he is able to make the unique monumental works that he does.