These can be seen as exploring in an extra dimension the ideas examined in Canney’s late abstract paintings, or as the introduction of colour into the white-relief concept seen on the previous page, or as a combination of both. They were reaching a new stage, in the form of the free-hanging alkyd relief/constructions (the last five pictured), in which the segmented and shuffled square coheres, apparently unsupported, in its surrounding space, at around the time that Canney was forced to cease work.