Before the war he had painted, as one would expect from a sculptor, in broad simplifications. Here and there a hint of Christopher Wood or an oblique reference to Braque perhaps - all this was in the air - and surrealism too. After the war he tended to follow a curiously Aegean star. His knowledge of the ancient Greek language was something of a gentle joke among academic· friends - and not least with Louis MacNeice, who was, of course, a fine Greek scholar. But with MacNeice he shared a real sense of mythology and an intuitive feeling for a classical tradition which can clearly be seen, not only in figurative romantic encounters of legendary heroes, but also in some later abstract works which evoke a classical nuance.

Kenneth Jamison, Arts Council of Northern Ireland