With their lustrous surfaces, the sculptures have a fluid quality—they transform and mutate when viewed in the round. In each work, Gontarski freezes and makes a composite out of various body movements and positions taken from skateboarders and snowboarders. From one viewpoint, Speed I (1999-2000), is a multifaceted representation of a body performing a ‘virtuoso flip in the air’; knees tucked up, baggy trousers trailing behind; yet, from another position, the seemingly figurative sculpture dissolves into four interlocking abstract shapes. Whilst these futurist works have a nubile aestheticism influenced by contemporary culture, they also reference moments in early 20th century Modernism—the sculptural abstraction fuses the organic grace of a Henry Moore work with the shiny hard skin, the speed, and the highly reduced forms of a Constantin Brancusi.