Albor’s art-making always avoided representation; his oeuvre has always been a steady progression away from objects and external reference. His visual language progressed to create works in different shades but of the same neutral color. He is best known for his dominantly textured paintings which in this instance has been washed out to a near off white chalkiness.
The effect of diffusion of neutral colors is Albor’s manner of working with minimalism as the end goal. While gestural strokes add to the complexity of the surface meanings of his canvases, the twin ideas of disintegration and renewal are vital to the understanding of his philosophy. Because Albor’s minimalist abstract expressionism does not overwhelm his viewers with strong, brash color and abrupt, confusing lines, his aesthetic speaks volumes to viewers that seek a calm, serene rendering of raw visual elements. Albor’s painting career in abstraction is characterized by a consistent pursuit of a balance between the physicality of nature’s prism of colors and the meta-physicality of man’s perception of this.
Although there are no recognizable representations in such canvases, Albor has often alluded to the color and light of the Bicol landscape of his youth as a haunting inspiration for his abstract lyricism.
Among many other suggestions, this painting asks if there can be such a thing as an absolute, even in gray, which some viewers may not consider a color at all. The presence of blue, red, and ochre and the use of shapes evoke silence.