In May 2018 at the opening of my solo show to accompany the National Gallery of Victoria's The Field Revisited exhibition In which I was a participant, I fell Into conversation with Mark Chapman, an authority on art materials and techniques. I mentioned that I had never been able to work successfully on paper because my techniques Inevitably tore the relatively fragile surface of the paper. He looked at me quizzically and pointed out something so basic that I should have worked it out for myself fifty years ago when I first attempted a work on paper.

I needed to test his solution for myself, but needed a challenge to properly explore the possibilities that paper could bring to my practice.

Various Ideas occurred to me and were rejected until  I remembered that for each of my grandchildren I had painted an abstract composition consisting of the letters of his or her name much in the manner of the Numbers Serles I produced some years ago.

 My work has always overlayed one reality on another conflicting reality seeking to produce a new unity out of this conflict. This plus my early fascination with mythology of Daedalus and the Maze eventually led me to the idea of a series of twenty four paintings, each work taking the anglicised name of a letter from the ancient Greek alphabet and from these letter shapes producing an abstract composition.

Having settled on this framework I decided that the series should explore and revisit every technique and colour variation I have used In my work since my first exhibition at Sydney's Watters Gallery In 1966.

The result is the series I have called The Greek Paintings.