Matilda Bathurst, The Millions

Perhaps, to submit to the ripping is the most honest way to live: to enter the rupture and look death in the eye. What we see is a living hell. What we see is the world we live in.

Angie Voela on OE

Orpheus and Eurydice is the passion of her absence. Do not ‘enjoy’ this book, feel it

James Walters on OE

Tom de Freston and Kiran Milwood Hargrave’s ingenious volume expands and revitalises the myth of Orpheus and Eurydice for new audiences

Abigail Rokison-Woodall on OE

Tom de Freston’s artwork is vivid, shocking and expressive

Lydia Goehr on OE

A beautiful discourse on modern marriage with images and texts of psychological inter-penetration and comic dissonance.

Leon Burnett on OE

Visually creative, academically informed, and imaginatively conceived

Luke Kennard on OE

Exhilarating, visionary and genre-defying. A free-wheeling but ingeniously focused reimagining of Orpheus and Eurydice

Claire Trévien on OE

Ground-breaking in its creativity and the fertility of its imagination…I have little doubt that it’ll be the work against which future hybrid and collaborative endeavours are measured.

Professor Ewan Fernie on Orpheus and Eurydice

There is a radical honesty about this book, one which grabs you where it hurts and pulls you in. It’s like eavesdropping on your own repressions, and just as thrilling, disturbing and compulsive.

A Fool’s World

These paintings aren’t a sealed door, they are the open gates to the Acropolis. You just have to take a change of clothes and go on a journey for gold. You could grow fat on their ornamented innards.

The Journal Of Aesthetics and Art Criticism

one enters a danger zone—a prison-yard of meaning

Expressing something honest and modern about how simultaneously blurred and clear the truth of a story is to us

Aisha Farr reviews OE in Trebuchet

The Charnel House is a work of staggering depth and imagination and one to come back to again and again.

A review by Sean Troth

De Freston meshes these with visual motifs, creating uncanny and complex but rewarding works.

Anna Ferrari on Orpheus and the Minotaur

It’s a deep, dark, emotional collection. Ultimately, The Charnel House is a work of great depth and imagination.

A review by R. J. Dent of The Charnel House