Recent abstracts show further development where you thought development
could not be possible finding colours that transcend description. The
surface quality has developed a sheen that is sometimes reminiscent of
polished leather and at other times it is Japanese lacquer and yet again
the surface of glass.
The marks or motifs as Duffy calls them show new additions, yet the old
marks, used time and time again show no banality but are full of energy,
part of a language that can only be Duffy's.
His colour range stays as broad as the eye and the imagination can
allow. Yet, very recently we begin to see areas of no colour, possibly
inspired from a series of pen and ink drawings completed in 2000 and
shown in St Ives. These new works have far larger forms in dark blues
which appear to be part of a new obsession which consider and refer to
sculptural shapes on a monumental scale echoing back to works in the
early 90's. Yet, finite detail is never lost and we are drawn into open
ineluctable space with lines and forms in perpetual motion allowing us
to interact as we will.