From the book, "Twelve Canadians"
When you look at a Horeis "Carbro" print, you have sense of the image lying on the surface of the paper, layers of image, in fact. It lies there so tenuously attached to the support that the image seems to have an existence quite separate to the paper. Ariana, stone head draped as in death, might also be Sleeping Beauty, yawn, stretch, arise from her bed and live. This quality pervades all Horeis' work, it is his brand of mystery and his art.
When photography was first invented, there were many who thought that at last technology could be harnessed in the service of art. Art has proven to be troublesome, and only a small percentage of those who try, succeed.
William Horeis is one who succeeds
- Carol Marino, Photographer, Writer
Toronto LIfe Magazine, "Photograph Guide"
Some photographiers go shooting every day, some every week. William Horeis shoots once a year. Horeis makes beautiful images. Horeis photographs as he finds. Opening the door of a hotel room in Portual, he sees three oranges bound to a table by cobwebs and a chair at an inviting angle: he takes it. The arrangement is so spontaneous, it looks posed. When Horeis looks at black and white, he sees colour. So complex is the shading and feel of his prints that you do, too.
- Adele Freedman, Art critc, Writer
"Contemporary Photographiers" second edition
In these new works we see again the scrupulous attention to detail. The excting detail and poetic elegence that characterized the earlier work. Little, or nothing, has changed. In a medium that is generally and too often overly occupied with concerns of technique, the photographs of William Horeis are a quiet and extraordinary fusion of art and process
- Bradford G. Gorman, Art critic, Writer
The Globe and Mail, "Entertainment"
Jane Corkin is also showing a selection of William Horeis' Carbro prints. Horeis' images have become stronger in mood and form. The best of his new images are suggestive rather then declarative - a mood suited to Carbro prints. Which have a thick highly worked surface. Compulsion, Continuum and Program are abstract construcions of light and shadow. Horeis' sweet peas, so fragile and ephemeral, take on a this worldly density which makes them even stranger. And then there's Ariana, a stone face veiled by clinging fabric. It's a haunting image.
- Adele Freedman, Art critic, Writer
The Robert McLaughlin Gallery
His photos are mysterious revelations of a subtle world, verging on the pictorial and the abstract. Their size is often small and intimate. William Horeis is a master of the fleeting moment. In his haunting photographs, he has captured time and the spontaneity of real relationships.
- Joan Murray, Director