Untitled No.46

During the 1980s and into the 1990s Anthony Galbraith created relief constructions in a highly disciplined art practice. In his box-framed sculptures he explored variations in the interplay of colour, line, three dimensional forms and representing space in two dimensions. These compositions are essentially still-life's in which he abstracts objects and architectural space into the final nuanced sculptures.

Galbraith drew and painted the compositions onto paper before cutting them up and mounting them on balsa wood. The depicted space in the two-dimensional paintings then became three-dimensional relief constructions. The intersecting lines of Galbraith's drawings remain visible in the final work, suggesting even further spatial variations. While geometry plays a part in these works, intuition and formal considerations are also important to the final composition and use of colour.

Galbraith's art continues within the trajectory of European constructivism that emerged after the developments in Cubism early in the 20th century. His work is also influenced by later 20th century British Constructivism and artists such as Ben Nicholson. Australian modernists including Godfrey Miller are also important precursors to his work. The rigour with which Galbraith pursued his vision meant that he only allowed his work to be exhibited in three solo exhibitions during his lifetime.