At his best, this artist is a mysterious image-maker who defeats any precise vocabulary of established ideas. Nothing in his work is as it appears to be, the images continuously slip, shift and change, but not as a result of any optical device, but rather of psychological ones. His simply carved, square and twin-turreted castle directly derives from ambiguous impressions of home, Kafka, tomb, womb, bomb shelter, cellar, hall, jail, chimney, penis, vagina, flags, well, moat, wooden horse, armory, army engineers semaphore tower, torture chamber, Europe, and Castle Line. These fleeting impressions are absorbed into the five distinct and thoughtfully-created facets of the sculpture, that is, the four sides and the top. What is unique about this artist is his capacity to give a separate and distinct imagery to each side of many of his works. The Castle, Memories en View and Void have neither frontality nor a continuous overall image.

What is disturbing and puzzling about this artist is his artificially ingenious popular-art framework, which almost simpers. His work is too internal, too penetrating and full of intense psychological insights for its almost provincial whittled redwood framework. This provincial framework must have been very important to Jeremy Anderson during his formative years: it probably protected him, as a self-enforced discipline, from the fashionable but superficial shifts in sculptural technique and form, and allowed him to develop unhampered, his own unique insights. But the issue in his art, now, is the shift from a penetrating backwoods philosopher to a powerful and important contemporary sculptor. There is little doubt that the potential is there.

—John Coplans