This is an uplifting exhibition, not only due to the subject matter but for how the exhibits are presented. The work seems to celebrate aspects of life, beauty and innocence that is found all around us, by depicting the intricacy of nature and simplicity of humanity.

From a distance, Jenni Doherty's floral paintings seem so delicate they invite the viewer to come up close and examine the subject before it wilts. As we advance toward an exhibit, the image provides even more interest as the paintings reveal a certain elegance. Closer still, and we're rewarded with a plethora of strong lines and hidden shapes of pure colour in a variety of subtle tones. These images seem to emerge from deep within the linen rather then just sit upon it.

Doherty's work is as fascinating as the subject she references. Our interest is peaked by the dance of rich textures, strong drawing and solid design. Consider Comfrey where a delicately depicted, midnight blue bloom is proudly supported by a wild field of organic shapes and textural marks that seem to reference every aspect the single primary hue owns. And the touches of silver leaf add yet another dimension to the work. The artist also uses gold leaf to enhance the intrinsic beauty and richness of her subject, nature. In some instances its application of is hardly noticed. For example it was the delicate white drawing on the rich red ground that drew me to the three individually numbered works entitled Floral Fragment. No gold was seen on the surface; it lay under a wash of red acrylic so as to lift the hue to a brightness it could not reach on its own.

Amanda Shelsher's hand built ceramic, porcelain and stoneware forms intrigue and delight the viewer. The white bodies and busts seen here wear dark sgraffito designs of plants, insects or domestic street scenes, a continuation of the artist's previous themes. However, some exhibits display a reversal of slip and sgraffito colours with black forms wearing white markings. The visual effect is rather dramatic and had me wondering if the dark sculptures were in some material other then clay. I considered the black slip busts and the standing Child - Flitter  might be bronze! There was no disappointment when learning they were indeed porcelain, instead I was even more impressed by the artist's ability to express her personal priorities comprehensibly while evolving her artistic practice.

Shelsher's cherubs and children are a delight. The standing Child - Look! and Child - Listen! evoke a sense of innocent curiosity. The wide open eyes of Look and tilted head of Listen have us reacting to their honesty by emulating their postures. And the seated cherubs, Hover and Capture and Release, each with their own wings, wear sgraffito designs of small winged insects suggesting that little angles are guarding little critters. Shelsher's work continues to develop while evoking a sense of wonder in the simple everyday experiences of life. And because of this fact, we can all relate to her art.  Do see this splendid exhibition as it celebrates two excellent artists who command two different art forms. It's all blooming beautiful.