In the 1970s, John Chamberlain continued to evolve and innovate within his sculptural practice, marking a period of significant exploration and experimentation with materials beyond the automobile parts that had initially brought him acclaim. This decade was characterized by his engagement with a variety of unconventional materials, including foam, aluminum, and Plexiglas, which allowed him to further push the boundaries of sculpture. During this time, Chamberlain experimented with urethane foam, synthetic polymers, and other malleable materials, diverging from his earlier work with crushed automobile parts. Despite the physical differences of these new materials, he remained consistent in his approach, always searching for the right fit and rearranging compositions until they locked into place. This process underscored Chamberlain's inventive spirit and his continuous quest to explore the sculptural potential of different mediums​ (Gagosian)​​ (Dia Art Foundation)​. The late 1970s saw Chamberlain return to using automobile parts nearly exclusively, refining his technique by cutting and painting the metal to expand the scale of his work. This return was accompanied by a move from New York to Sarasota, Florida, in 1980, where he sought a larger studio space with higher ceilings. In Sarasota, he created the Gondolas (1981–82), a series of long, low works displayed in pairs or groups on the floor, evoking abstracted boats floating in a row. This period also saw him sandblast painted car metal for the Giraffe series (c. 1982–83), removing the color in patterned, linear strips to reveal the raw surface beneath​ (Gagosian)​. The titles of Chamberlain's sculptures from this era, such as "Flufft" (1977), "Coup d’Soup" (1980), and "Pigmeat’s E♭ Bluesong" (1981), were often derived from found words and expressions, reflecting the poetic sensibility he developed during his time at Black Mountain College in the mid-1950s. These titles were deliberately open-ended, adding an additional layer of meaning and interpretation to his sculptures​ (Dia Art Foundation)​. Throughout the 1970s, Chamberlain's work oscillated between various materials, reflecting his inherent curiosity and innovative approach to sculpture. His engagement with different mediums during this period not only demonstrated his versatility as an artist but also contributed to the rich legacy he left behind, influencing subsequent generations of artists​ (The Art Story)​​ (Gagosian)​​ (Dia Art Foundation)​.