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Although he also exhibited drawings and collages from time to time, Lon Pennock was primarily known as a sculptor, making both small sculptures for interior spaces and large monumental sculptures for public spaces. He manifested himself as a true sculptor who applied constructivist principles. In his language of forms, he focused on concrete starting points.

In the small sculptures and collages he exhibited in the nineties, Pennock showed that he has acquired an ever greater degree of freedom during his artistic career. The need to anchor his world view in simple geometric forms and clear symbols has made way over the years for a playful language of form in which he comments on sculpture in a light-hearted way. He did this by experimenting with forms and asking questions about the nature and capacity of things. For instance, he depicted the shadow of a sculpture and used square cubes that seek out the sky to portray the phenomenon of 'desire'.

Balance of sheets' belongs to Pennock's early work. In those days, his ideas were still strict and austere. Two rectangular Corten steel plates determine the view. One sheet stands upright and the other has been placed at an angle to it. The construction is simple and effective and leaves little to the imagination. The sculpture is typical of the work of the young constructivists from The Hague who, in the 1960s, received their training at the Royal Academy of Art in The Hague. Pennock continued his studies at the École des Beaux-arts superieure in Paris from 1967 to 1968. In 1969 he won the Buys van Hulten Prize for young sculptors.