The huge realisation of this prestigious banking commission crowned several years of the sculptor's work in Berlin (settled there in 1982), marked by successive public commissions for the city, thanks to which Broniatowski is mainly known today. For the first time, however, the artist received a commission from outside Germany. The rather banal architecture of the bank building, erected on the outskirts of the town of Bendern, is contrasted by a massive mass of seemingly disorderly material. The sculptor, obsessively interpreting fragments of the human body for years, does indeed evoke 'muddy' associations. "The sculptures appear to be made up of infiltrations of mud. However, the semi-fluid matter struggles to take on anatomical-like shapes. "The giant foot in front of LGT Bank iconographically is a personal repetition (...) of Constantine's foot [from a Roman statue]. However, it seems closer to Rodin's oft-photographed 'Thinker' foot, half-monkey-like, grafted onto a lump of matter in an effort to overcome its pregnant formlessness (...). The shape of 'The Foot of Bendern' would be almost unreadable without the title. It blurs in the infiltration of matter, the semi-fluidity of its mass defying its surroundings - the rationalistically ordered, crystalline architecture against which it was created" (Lech Karwowski, 1999). Broniatowski's formal explorations of this kind were already evident in the 1970s, and became particularly intensified in the 'formless' nudes and 'Stepping Figures' from 1988 onwards.