1945 - 1952
By 1945, Hedda Sterne’s work began to reflect her immediate surroundings, inspired by her feeling that
"the United States was more surrealist, more extraordinary, than anything imagined by the Surrealists."
Between the late 1940s and early 1950s, Hedda Sterne began to focus on the anthropomorphic qualities of machinery, from rural farm equipment in Vermont, to massive contraction cranes in New York. As she would later recall:
"I had a feeling that machines are unconscious self-portraits of people's psyches: the grasping, the wanting, the aggression that's in a machine."