Working in close contact with Nepali artisans, Siedlecki converted these artefacts into artworks which, though necessary to the creation of the sculptures, would never have become art because they have to be necessarily be destroyed in order to bring the casting process to an end.
The result are objects with no defining forms, showing a powerful, primitive expressiveness, free from proportional canons, from precise anatomical references, which however keep a faint relation with Buddhist and Hindu religious iconography, and at the same time remind us of the archaic aesthetic of early twentieth century sculpture.