From the 1960s Madigan started to use painted off-cuts of plywood from Adelaide harp maker Peter Kempster, to create more abstract sculptures (one can be seen in the background of the homepage photo). Later during her years in Sydney she had access to wooden machine casting model shapes (through partner Robert Klippel), as well as off-cuts from her own work, and developed a strong individual semi-abstract style based on her understanding of the figure, with most still based on the torso. This continued alongside her carving practice from that time.