The golden Torso series emerged in 1977 and slowly sizzled off in the beginning the 80s, although Benglis has continually returned to this form in various mediums throughout her practice. Benglis’s exhibition at Paula Cooper Gallery in 1978 was accompanied with a quotation of Spanish philosopher José Ortega in which he praised the forgotten virtues of “flounce” and decorativeness. Her interest in metallic and shiny surfaces flourished as she created the Pleat series and continued throughout this Torso series. Her use of gold could be linked to the Greek Orthodox Churches and their icons, however it also brings to mind jewellery and its decorative functions. Most of these pieces are all made from modelled wire and plaster and sprayed with flamboyant gold. There are at least a dozen similar work in existence. After this golden series Benglis starting using other metallic materials in her sculptures, such as bronze and aluminium.

Benglis was drawn to the myths and legends of Odyssey while she produced this series of bodies (aquatic and human) with sensual and seductive curves. The shapes of the sculptures evoke that of a female body or a mermaid’s tail, glittering like scales on their torso-like structure. Knossos, Siren, Minos, Mer and Chicago Caryatids all represent this moment and the beginning of the Torso series in which Catalina (1980) naturally emerged. These pieces mesmerize the viewer similarly to how mythical water creatures and were believed to hypnotize men.

The torso shape has had significant importance in the art historical cannon as a classical form. It was the core medium for centuries as an art metaphor for man’s deepest spiritual and emotional qualities. There is also a reference to the Greek Caryatids in the form of the sculptures. These female figures served as architectural support, taking the place of columns of pillars, which again reflect back to Benglis appropriation of the female as decorative. Finally they also bring to mind an oversized candy wrapper. This carnivalesque feature may stem from Benglis’s experiences growing up in Louisiana and her connection to the South (USA).

Throughout her career, Benglis have returned to the torso as a form and produced similar sculptures in other materials such as marble. The title could refer to Santa Catalina, a small island outside the coast of Los Angeles in the Pacific Ocean.