"Adrian Everitt has shown steadily, worked steadily, and has a subject that is not only traditional but almost obsessional. But how he handles that subject - heads - is idiosyncratic, rich and flavourful. His style borrows freely from the innovations of cubism, from the ways artists 80 years ago looked at primitive art, from the hieratic heads of the early Renaissance, from icons and from the techniques of collage and construction. The wayward, refreshing use of texture, of mixed media, is very now, as is the arbitrary, free wheeling yet contrived spontaneity of the variety of patterning.

In the large constructions, contrasts of pattern and texture become the subject matter itself, with a sense of free hand geometries. Here the look is abstract, texture and colour for its own sake, suggestive, sharp, elusive, allusive. We can read into the patterns what we will, and we can take what they show us into our own awareness of the visual world.

The heads, a superimposed swirl of strong, black lines, are part of mixed media paintings - pigment acrylic medium and oil on paper - and although the heads are intensively stylised (Everitt has described himself as an obsessive draughtsman, some of his earliest memories are of drawing heads, obsessively, continually) they are also, ironically, paradoxically, powerfully emotional. Solemn, dignified, hilarious, grief stricken, euphoric, sardonic, ironic, savage, these heads, emblems, iconic, totemic, are expressive of the human condition. In linear refinement and patterned exuberance, Everitt is producing powerful, effective, communicable works of art. Using tradition, he has made the past his own, into a present and future of high individuality. His effective minimalism is rich, determined and emotionally affecting."
Marina Vaizey, May, 1987