Voyage of the Acolyte © 1975 Watercolour 35 x 45 cm Front album cover and winner of Album Cover of Year in 1976. Exhibited at the Thumb Gallery, London, in 1979.

Through bone and fire the sightless priestess foretells the future. Her eyes are denied the usual sight, but she represents events foretold: precognition, premonition and the road of the tarot are her stock in trade. The hands of this gifted seeress, and feminine intuition, allow the drawbridge of consciousness to be lifted for her, immediately becoming an open door. It is a Chinese watercolour in her background which tells of past lives ... the tower about to be struck down ... the balloons of colour that must be snatched and fully grasped in order to move forward, representing the artist herself.

The Hermit © 1975 Watercolour 62 x 54 cm Inside album sleeve Exhibited at the Thumb Gallery, London, in 1979. Fine Art Print & Greetings Card for sale

The Hermit, and the ancient world he represents, are one. In repairing to solitude he realises that the world is within him. The ruins depict the necessity for non-attachment as the things of man are apt to pass, including established sanctuary. The Hermit inhabits just one of the priestess' balloons, and represents the tarot card that highlights a need for solitude and reflection. He is done with the ways of man and symbolises the world within.

Please Don't Touch © 1978 Watercolour 52 x 52 cm Front album cover Inspired by a store on London's Portobello Road selling Victorian automata this inspired a scene in Ridley Scott's famous film 'Bladerunner' where the toys come to life and attack the character played by Harrison Ford.

Spectral Mornings © 1979 Glass fused on steel 35 x 35 cm Front album cover Painting the spirit through painting the light. Leading art critic Edward Lucie-Smith has described Kim's work as 'paintings without edges'. A multitude of kiln firings to adapt texture and degrade differences - the third colour fused from the previous two being the all important key. It is a technique mastered by Kim in the same way a music maestro masters his instrument to the point where it seems as if there were only one violinist in the world. This was the first of Kim's covers to use this technique.