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"With the stone work Flanagan has to time his entry most carefully. All the more so because he is carving, eliminating rather than modelling or manoeuvering parts. Occasionally the blocks are brought down to a drawn 'blue' line or fashioned to a description by another pair of hands. Towards the end, thus far at least, there needs to be some crucial midwifery in order to launch the work to its sculptural state. A shadow, an askew rhythm, passes over the sculpture marking it as Flanagan's." (C. Lampert, "Barry Flanagan", London 1980.)