Boyd was deeply impressed by the frieze of crimson, black, and yellow human figures covering the back wall, especially
the shimmering white figure that gave the shelter its name.
His color, now blazing, now gently softened, now sounding in resonant combinations, is the source of both form and light, holding within its brilliant transparencies darker gradations which convey limitless depth, at the same time allowing the
white light of the canvas to
shimmer through to the surface... slashing oranges cut across the pink and blue of partially squared area -LSB-...] with the more complex imagery of Queen II and III, in which
figures with ritual connotations are implied in rich color schemes of red, blue, green and ocher with
white.