Geoff Thornley’s major Albus series of paintings from 1974-75 showed how monochromatic surfaces could be put into play against an underlying grid structure. He began showing at Petar/James Gallery in the Law Society Building at 56 Shortland Street in Auckland where influential gallerist Petar Vuletic provided critical support for fostering abstraction in painting. Alongside artists Ron Left, Milan MrKusich, Roy Good, Stephen Bambury, Richard Killeen, Gordon Walters and Ian Scott, Thornley showed works which were experiments in painted constructions. He ventured into the circular tondo format which became popular in Renaissance Italy during the 15th century, derived from round reliefs of subjects such as the Michaelangelo’s Madonna and Child. Always interested in the relationship of the painting to the wall, the tondo created a new dynamic of painting and frame.

The curving arcs of blue, black and red around the periphery of the painting reinforce the round shape, but also draw attention to the edge of the work, setting it in motion for the viewer. Placed intuitively, these Bauhaus-like building blocks indicate the artist’s interest in colour as an element in painting that activates an emotional response. These operate in contrast to the action of the expanse of white which creates a still centre to the work, balancing the momentum of the curves.