This is an excellent exhibition of diverse works. Some exhibits have important comments to make, others celebrate the imagination of the artist, all engage the viewer's eye, mind and imagination. The floor plan of the gallery enhances the exhibition. With one large room, two smaller ones and a corridor that encourages close inspection, the viewer has the proper surrounding space to engage with these very different but equally intriguing works. This measured interaction permits us to better respect the skills owned by the makers.

On entry we are greeted by a pack of strange looking dogs by Susan Flavell. Although odd, they don't seem vicious and I did hope the one-eyed, spotted Night Walk would follow me home. These canine exhibits appear to be made of metal however most are sculpted from acid free paper on a wire frame and given a 'metallic' finish. Other weird but wonderful creatures by this artist include a plaster Woody Fish Eye that seems to be a four-legged Dugong carved from timber, and a collection of small cast bronze Mousemen.  Flavell's hybrid animals are the kind that should go bump in the night except they are just too delightful to be frightening.

Also weird and equally wonderful is Neighbourhoods, an installation of  face concealing ski masks by Cecile Williams. Each is constructed from recycled jumpers embellished with zippers, buttons and other stuff so as to best reveal the personality of the wearer. And so we see the all blue Sorrow has eye holes that droop down the face in a crying-your-eyes-out manner while Delight is composed of a collection of happy hues. Weary is grey with sparse hair sprouting from its head and Parenthood is a patchwork made from of what appears to be brightly coloured children's gloves! And what about Dog Suitability? Certainly NOT to be worn to the greyhound races!

Also appreciated are the textile/fibre works by Kate Campbell-Pope, in particular her series Within These Walls. The five stuffed red heart shapes of Within These Walls #1 are each topped with fabric flames and wear a butterfly shape. There are different ways of reading this exhibit, I prefer to see it as hope continuously emerging from hurt, like a phoenix from the ashes. Then there is the powerful yet delicate work Within These Walls #3, which caught me in its net of grass, silk, jute and feathers, along with the woven butterfly that is missing its heart. And don't over look Cambell-Pope's little watercolour Mandala, it's a strong image despite the small size.

Claire Bailey's work always provides excellent viewing. Her sculptures, no matter what material she employs, are imbued with meanings that go beyond the image. I appreciate how she employed chunky charred black wood, sticks and delicate patinated brass to construct In Leaf 1 & 2 to suggest post bushfire regrowth. And became entranced by Fertile Beginnings which so delicately depicts seeds within a womb within a seed. But it is the installation Last Leg in the small back room that has stayed with me long after leaving the exhibition. Here a flotilla of small boats suspending from the ceiling references refugees and migrants as each craft contains silhouettes of figures, some of whom carry Australia in their heart. This is an absorbing work.

The gallery is easily accessible to family picnickers and Sunday strollers, and this variety of visitors only enhanced the experience of viewing the work. It was a delight to see adults reacting to the work with the same sense of awe and appreciation as the children. The only difference being the adults seemed to wonder 'how did she do it' while the children just accepted these 'wonders' as a given. The only way to view fine art and craft!