"Working in a more overt way with light, Brignell and Raimes' installation invites the viewer into a private experience, where, on peeping ino the box and listening in to the headphones, you are drawn into a sci-fi fantasy world where all sense of the real world is occluded and we are not sure whether we are viewing scenes of a cosmic or molecular nature. As our everyday perceptiion, excluded from those realms of existence, is totally unequipped to interpret such scenes, we are left in a perpetual limbo. Disorientation would seem to be the natural viewing response here. The intriguing aspect of this work is how strange, apparently exotic, images and sounds can be produced from the prosaic, everyday materials that Brignell and Raimes use to create their work." Roy Exley, catalogue entry for 'Multicomplexificationalities" at the Nunnery, June 2007. "... the exhibition opens to a dreamlike world often on the edge of being frightening and alienating... This theatricality is staged by the artwork through its mode of display in Brignell and Raimes' Chamber Works where the visitor discovers moving images of intense fire by looking into small windows." Review by Vanessa Desclaux, AN Magazine Sept 2006 “Brignell and Raimes’ DVD footage of inner and outer space, taken from extreme close-ups of hand made models, show trips into a subterranean world that are as much in the tradition of Jules Verne's A Journey to the Centre of the Earth (1871) as they are science fiction voyages into unknown parts of the cosmos ”. Andrew Hunt: Catalogue for The Stars Down to Earth Exhibition at the Nunnery Gallery, London E2 June 2006 “Brignell and Raimes are searching for a more genuine discourse which sets them aside to a lot of contemporary art practice …  with the desire to be more urgent and present, both Brignell and Raimes are keen to reintroduce the discomfort of the object as well as a totality of the senses.” Mark Anthony Pearce:Open Studios, Bow Arts Trust 2006 "I'm particularly drawn by the vibrant and intense colors, and the feeling that I'm looking at things which should be familiar, but I can't quite place". Dr. Carlyn G. Morenus (pianist) 2004 "A great deal of my thinking about this is thanks to your site. I'd never really given the idea of "abstract photography" much thought before I ran into your work. Photography, as a whole, never interested me much -- other than as a point of departure for my portrait paintings. But abstract photography seems interesting to me, because it can take the ordinary world and reveal the magic contained in it. It's especially interesting when the photograph is untampered with, and shows something "real", but it's difficult to determine what it we're actually looking at". Nik, 2003 "That moment of reflection taught me something else lost on-line, the size of these works. A painting that looked like a study under a microscope is five feet on a side. Imagined in its reality, it acquires the bare beauty of abstraction. Other images that somehow have ample room for points of ink-like detail, like a geode, run no more than a foot across. Large forms also have a strange fineness, but in motion. In that new triptych, a wave seems to have moved from left to right. It bursts the bounds of a single panel, like an Asian screen. Yet it, too, is small. Artists like to distinguish size from scale, but here the distinction has a way of unsettling what I think I saw ". John Haber, (art writer) New York 2002 "I know why your art made me think of large expanses of fathomlessness. They look somewhat like the images from some telescopes of clusters distant galaxies. I had a gut reaction a little like that chap that went through the tunnel in 2001, but I couldn't figure out why I was connecting this to your images. The images are provocative in that they allow your mind to make its own connections. They suggest some abstract object to me or something very distant". Paul Gates, (scientist) UK 2001 "I have one of Alison's works. Let me try to paint it in words. What she does with wrinkles and textures is quite incredible. A dark blue background, and a scape which looks like the craters of the moon. Colors are siennas, violets, off whites, blues, some greens and others too subtle to describe now. The wrinkles appear as the Martian canals. Main thing is the textural quality of the piece: Some of the paint is 1/16th of an inch thick, some less bulging. Wrinkles, 1/32nd, or so. The effect is of a self contained world, mysterious and active". Peter Heller, (painter) (1929-2002), Vermont USA 1999