"Computer or digital art often looks as though it is created on a computer...This is not necessary.
Shircore has proven that, ...Looking at them it is impossible to tell...this opens up a brave new world where the impossible has now become the possible." Arthur Hacker, Asian Art News, September - October 1997

"The writings and chops are immediately evocative of the Celestial Kingdom of old and Britain's days of empire building. But these are no mere flights of fancy. The source materials for this series were the original documents that the British and Chinese governments signed when Britain took control of Hong Kong". International Designers Network Magazine, March - April 1998

"Pat has made a break-through in Fine Art. She has used the original textures of the source material as paint, the tools of the colour separator as brushes and the mult-layered properties of the monitor as her canvas. This imposes a fresh definition on the working medium and opens up the realm of digital art.
Like many other masterpieces which depict historical events, from the cave paintings of ancient times to the 'Guernica' of Picasso, Pat Elliott Shircore began with a historical idea. However, it is not essential to understand the contents; the artwork stands on its own and one can enjoy its superb visual richness" Space Magazine, February 2000

"Sound a little dull? Hardly; the Foreign Office copies are bound in crimson clothboard and carry the standard yellow classification labels, while the Chinese ratification of the Convention of Peking is bound in two wooden boards covered with fine silk brocade, lined inside with yellow Emperor silk and fastened with yellow silk ribbons. These colours, together with the beauty of the chops and seals, truly bring the story of Hong Kong to life." Stuart Lawrence, Cathay Pacific Discovery Magazine, February 2000

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