'Every culture is umbilically linked to its native countryside' writes John Mitchell. 'The maintenance of these links is necessary for its survival'

Chris Booth's sculptures are a manifestation and acknowledgement of those links. In their melding of the processes of the natural world and the processes of mathematics and engineering, the sculptures embody a notion of balance rather than power, co-existence rather than domination.

Gregory O'Brien, Art NZ, 1997
 

For earlier sculptors their work had a self-contained integrity, almost regardless of its eventual site, whereas for Chris Booth each work must have a strong relationship with the place, its people and its history.

Ken Scarlett OAM,
A Sense of Place, a Sense of History, Lincoln University Press, 1995
 

"In Celebration of a Tor" at Grizedale Forest, Cumbria, England is one of the most evocative contemporary sculptures I know.

Edward Lucie-Smith, Asia-Pacific Sculpture News, Winter 1995
 

‘Chris Booth’s empathy for people, his ability to relate to their culture, and his underlying respect for the environment have enabled him to create memorable works that sit respectfully in the landscape’.
‘…… which wait patiently, quietly expecting due reverence from the observer’.

Ken Scarlett, World Sculpture News, 2000.
 

’With his profound reverence for nature, Booth tries to find a way of mediating between the landscape and the new democratic audience. His sculptures offer the spectator a means of making an identification with natural forces’.

‘They are also fragments of a narrative - poetic fictions which have taken on three dimensional form. Each invites the person who encounters them not merely to look at the forms themselves and to make their surroundings more articulate, but to dream in a particular way. It is the skill with which he controls the dreams of others which makes him so outstanding as an artist’.

Edward Lucie-Smith, Random House Publication:
Chris Booth: Sculpture in Europe, Australia and New Zealand’. 2001.