During this period her work became more geometric, harder and less human in its appeal, as in works of the mid-1960s such as Marble with Colour (Crete) (Rotterdam, Boymans-van Beuningen). Partly because of the increased pressure of public commissions, she worked increasingly in bronze. In the 1960s she acquired a much more spacious studio in St Ives, which made it easier for her to produce work on a larger scale.