Unseen by the public for over 30 years, the work had been stored after its first showing in 1977 at St Johnʼs Cathedral. The workʼs unearthing for Sullivan+Strumpfʼs retrospective exhibition Sydney Ball: The Stain Paintings in November last year coincided with Ballʼs 80 birthday. Accordingly, the AGNSWʼs acquisition is well-timed recognition and a nod to his impressive career and contribution to Australian art. Apart of the Stain painting series from 1971-1980 (which resulted in around 100 paintings), Great Falls is characterised by its painterly abstraction in Ballʼs exploration of colour. By working on the floor, accessing all sides of canvas, the canvas is layered with splashes and splatters of colour that enabled a free openness and luminous expression. An epic explosion of colour, Great Falls is overwhelming in its sense of an unleashing of colour forms, however despite its fluid freedom Ballʼs technique is one that is tried and mastered. What distinguishes Ballʼs Stain series is the effect of assonance and dissonance. As a colourist Ball experimented with a range of complementary rich shades, dark tones and light uplifting notes of colour. The interplay between considered tones and unexpected splashes of colour resulted in vivacious works that evoke an emotional response. Reflecting on the series in 2013, Patrick McCaughey, who had visited Ball in New York, makes the observation; ʻEach painting is a fresh encounter as if Ball set out never to repeat himself… The Stain paintings are one of the triumphs of Australian art in the 1970s… How good it is to see them again and what miracles of vitality and enterprise they are.ʼ