The present work was painted in 1940, while Morton was in St Ives visiting two artists he had met through his involvement with 'Edinburgh Weavers' - Ben Nicholson and Barbara Hepworth. Its unusual composition forms an essentially unique aspect of Morton's oeuvre. It has an overall cinematic quality which suggests the manner in which the work should be read - a series of successive horizontal frames in an abstract, animated film. The sense of movement evoked by the varying compositions of forms in space shows the influence of Alexander Calder's hanging mobiles from the late 1930s. The reductive selection of colours highlights Morton's interest in Modernism, and the artist Piet Mondrian in particular. At his death in 1964, two retrospectives of his work were held. Over forty years later, a long overdue study tracing his wide-ranging career and recording the history of Edinburgh Weavers and the glorious textiles it produced, was published by the Victoria and Albert Museum in 2012.