Looking at Robyn Denny's paintings is its own reward. The subtleties of surface and formal organisation unfold with time, with light, with mood. But his paintings have also,almost always, alluded to the physical world beyond the walls of formalist abstraction.Denny's very early work sought to reconcile the pictorial language of art with his sense of mid-century urbanism. But these early paintings such as the Red Beat series soon gave way to more formalist environmental-scale abstractions which carried such titles as Eckleberg (a reference to F Scott Fitzgerald's Great Gatsby) and Time of Day.The scale, organisation and titles of those finely tuned orchestrations of line, colour and form of the 1960s and early to mid 70s, sought a meeting point between the fictive and physical realms.

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