This exhibition provides a gentle encounter with art as the works speak to the soul rather then challenge the mind. Dan Mazzotti's paintings and Viktor Eszenyi's sculptures compliment each other beautifully as each artist is able to manipulate his medium in a manner that communicates the human condition. Both have solid skills and a command of artistic language that enables viewers to easily interpret the work according to their own emotions and experiences.

Mazzotti's paintings delight. The images present universal themes allowing viewers to produce a personal narrative for each. For example, I found myself connecting four unrelated exhibits to create a story of my own. I was drawn to Adam & Eve as it shows Adam presenting the apple to Eve and Alone at Last were a couple step in each other's arms; then Forgiveness shows him looking over his shoulder apologetically at her as she reaches out to him and Intimacy sees a couple in a close embrace. Although the figures were not identical in each painting, the story unfolded for me all the same and I was delighted to discover each chapter while walking around the gallery.

With Mazzotti's paintings you are apt to get involved with the 'picture', which is always a delight, but don't forget to step back and see the painting. That's where the greatest rewards are found by those who appreciate fine painting ability. For example, in the simple still life Flowers and Candle we accept the cloth as white. But close inspection reveals the 'white' is composed of a variety of soft warm hues. Again in Serenity, where a gentle lady sits and contemplates a vase of roses, the 'blue' background is a melody of short brush marks in tones that range from violet to teal. Of all Mazzotti's paintings presented here, Mischievous held me longest. I do love the cheeky look of the lass attempting to be 'demure' but really appreciate that single white brush mark by her hair (half a halo perhaps?) that seems to jump with joy to enhance the whole image.

Eszenyi's sculptures employ an economy of line and reveal a respect for the material be it limestone, sandstone, soapstone or marble. Many of the figurative works allude to human emotion rather then just the physical aspects of the body. Often the figures are elongated or pared back to basic form allowing the viewer to infuse the work with their own idea of 'persona'.  Some figures employ the same pose, seated with arms wrapped around drawn up knees and head bowed, however each evokes a different mood. For example the figure of Round n' Around  has no feet and the hair flows from a (brow) ridge, down the spine to end in a point to create an elegant abstract image. The whole is enhanced by the natural pattern of the Donnybrook Sandstone. Shaded sees a smaller figure of green Soapstone seated, knees pulled up, on a white Carrara Marble leaf form. Here the arms are wrapped around the head giving it a hint of sadness. Meanwhile the larger Magamba Man, in Mt. Barker Limestone, seems quite relaxed as his arms drape down to the ankles and his head is tilted to rest on one knee.

Also appreciated are Eszenyi's abstract works, in particular the smooth and elegant Flame in marble, and the sandstone Essence with its phallic symbolism. It appears the sculptor allows attributes of the material to inspire the form of his non-figurative works. Most appreciated is Timelines consisting of a boat shaped form standing on end. The smoothed surface and minimal linear pattern in the Sandstone invites close inspection while the minute 'flaws' in stone evoke meditation on the concept of 'perfection'. Highly rewarding work.

Do visit this exhibition. Do take the time sit and contemplate the mood, the colour, the shapes, the art. Find your own dreams and realities in the excellent exhibits and refresh your spirit.