Anyone who celebrates life & love in their art is liable to be considered suspect by those who prefer the sanction of distance, abstraction & sterile refinement. To construct images of contentment, to dwell on trust & intimate reliance is not the soft option; it not only invites the sneers of those who regard themselves as engaged with more important issues, whatever these may be, it also, inevitably, comes close to sentimentality. The answer is to be truthful.
William Feaver. 1993. [from Towner Gallery catalogue]

In spite of the sometimes dense network of references, Cozens-Walker's work is ultimately about what gives her her identity. That identity is, of course unique & so is the art which helps her define it & also give it expression. In the end she is simply herself, & her extraordinary, evocative objects elude every attempt at classification. That's one of the reasons I like them so much.
Frank Whitford. 2001 [from Boundary Gallery catalogue]

Mary's work is intensely personal, using images referring to aspects of her life as metaphors on universal themes. She uses embroidery thread in the same way that painters use paint, as an embellishment of a surface to describe texture & form. Her work is sought after by public & private collectors.
Christine Yates. 2003. [ Fiberart Gallery]

...precision, nostalgia, affection for the subject matter (makes these works) clearly part of a particularly British tradition which has at it's core a make do & mend reserve & a wonderful economy of emotion.
Beth Smith. 2007. [Selvedge magazine]

Mary Cozens-Walker