"Initially, one might be bewitched by his apparent naivete and charm, but deeper examination uncovers much greater profundity than that. In his more complex prints, he frequently tilts the picture plane, so that he simultaneously presents both horizontal and vertical aspects of the subject.
This attempt to portray a multiplicity of viewpoints within the same picture was one of the most inventive aspects of early Cubism, yet no man could be less likened to a Cubist than Glynn Thomas. He employs Chinese methods in Cambridge Bridges, in which six bridges pile vertically on top of one another, yet one discovers vestigial traces of perspective as well.
It would be hard, however, to name another artist who combines charm and intellect with such felicity."
Colin Moss, East Anglian Daily Times
