In Two Moroccan Women (1992-5) the singing colour is comparable to Frank Stella's powerful square paintings of the early 1960s, yet the subject matter is indispensable.
Such paintings retained their basis in drawing but the stimuli became more studio-bound and investigative, an analytical process was becoming synthetic.
Despite these formal imperatives, what concerned Greaves was not abstraction, but the way that he might give equal weight to the representational and abstract components of his work.