In this work Halnan is revisiting concepts and materials she was exploring in the making of quite large scale ephemeral works in the years 1995 – 2001. She defined these works (Books I – III, Dumbbell, Wavelength etc.) as “installed constructions” as they were fabricated within the constraints of certain particular spaces or environments, and relied to a large extent on these environments for their form. To this extent they were site specific in much the same way this present work is dependent on this particular space for its existence. They were also, for the most part, constructed in such a way that the viewer was able to move around or through the work, thereby creating a more intimate relationship with the work than is usual with more formal object sculpture.
The kinetic quality of these works was an essential element in their construction. Disturbance created by shifting relationships between layers made for visual excitement, even irritation, a quality which has also been one of the motivations within Halnan’s painting practice over the past few years. In both two and three dimensional work she uses visual rhythms which interact with one another in much the same way in which harmonics work in musical composition. Dissonance is as important as assonance.