Paolozzi overlaps figurative and mechanistic elements in this drawing, fashioning a man who is inseparable from his camera. The reference to the camera—and the insatiable thirst and consumption of images—resonates with Paolozzi’s interest in the mass media and his leading role in the early Pop art movement. The Pop aesthetic first materialized in Paolozzi’s slide lecture “Bunk,” which he presented at the Institute of Contemporary Arts in London in 1952. In it, he recombined images from science fiction and popular magazines, revealing his innovative thinking about ubiquitous but overlooked imagery and its role in modern life. Growing up in Scotland in a poor family, without the toys and games that more advantaged children had, Eduardo Paolozzi collected scraps of cheap, mass-produced printed matter and created scrapbooks in used books. After World War II Paolozzi spent two years in Paris and found a treasure trove of lurid magazines and comics (cast offs from American G.I.s) that he used to create collages. In this drawing, Paolozzi overlaps figurative and mechanistic elements to fashion a man who is indistinguishable from his camera. The reference to the camera—and the insatiable thirst for and consumption of images—echoes Paolozzi’s interest in mass-media imagery. However, instead of using found images to create his collage, the artist layered images that he had drawn.