My art is an art for the working class. - Brian Clarke

Black has the power to astonish. It absorbs and reflects colour stealing much from the prevailing chromatic landscape. It makes blue bluer and light lighter. There are as many variations of black as there are of green.

There is a world that can be seen only through stained glass. It is like no other. The medium is thought to have been at its zenith in the Middle Ages – though the medievals had the advantage of Gothic architecture to respond to. I want to surpass the Middle Ages, not equal them. Surpass them with the new and irresistible: volumetric, spatial colour, transporting post-industrial godless man to the edge of ecstasy.

The self-inflicted isolation of the contemporary artist and the mistrust levelled against the architect are both important contributing factors in the current situation of architectural art. The painter is anxious to keep intact the historical image of artist as loner, the intense sensitive, the genius and “maestro”; while the architect, feeling the watchful eye of his client constantly over his shoulder, approaches any extra-to-budget expense, such as art, with considerable trepidation, guarding jealously any intrusion into his building by potential glory-thieves. – Clarke in the essay 'Towards a New Constructivism', from his 1979 book Architectural Stained Glass.