Speaking on the series of works he painted at the Warnford Estate in Hampshire the artist explained:
‘To the artist the interest of this subject lay in the combination of four entities, each in itself having pictorial value: the lake, long receding into the distance, tree-bordered and swept by wind ripples and glaring light. Leading from this the swift-flowing water race tumbling in a small fall over the edge of a curved, brick-supported bank. The deep, cool, clear trout pool below, partly in sun and partly in shade from the heavy foliage above, and, leading out of this pool, the winding stream, sand-banked, strung with waterweed, passing away among the vegetation. These four entities, forming the whole subject, each had their rival claims, depending on the concentration of interest, the others then becoming subservient.
By reorganisation of design, deepening or lightening the strength of tonal areas, or emphasising colour, the four component interests have been held in balance to throw up the particular subject of each point of view. The receding plane of the lake, and the great curving vertical plane at the point of the waterfall, the rounded pool overshadowed by heavy trees, the swift outflowing stream, these cause a conflict of visual interest from the centre, outwards to the let; or to the right, away into the lake distance.
Here is the origin of these eight paintings.’
(Peter Khoroche, Ivon Hitchens, Lund Humphries, 2014, pp. 134-135)