Rhythmic line, kaleidoscopic colour, joy and confidence; these are the forms and feelings that make up Helen Miller's exuberant paintings. One cannot ignore her charming subjects as they reach out and pull us into a world of fact and fantasy. Besides providing an excellent visual experience, these images offer an eloquent comment on life, love and strength of spirit.

Miller's buoyant style is unique while her subjects are universal. Everyone can relate to the child of Hidden Place, who sits with chin on hands on pulled up knees, in a safe shelter of flowers and bird song, where a golden light pushes away the darkness. We all hold a child within and each of us has a special place for thinking, dreaming or hiding away from the world.

Many works suggest a sense of private contemplation, each in a different way. For example A Muse A While shows a lady in white relaxing in a casual pose while a multitude of bright patterns and cogs of colour dance all around her. All I could think of was a self-satisfied Cleopatra conjuring up some elaborate scheme. Then there is Rapunzel locked in her crenelated tower waiting and hoping for ... what are we all waiting for? And Lilly Girl who has blossomed in the outback and is now ready for anything. Could this be a self portrait?

But these are just my interpretations, others will find their own narratives in these well painted images. I discussed the intention of one painting, The Earth Cries Out to Her God, with another visitor to the gallery. The work depicts a black tree, it's trunk hints of a female figure, reaches bare limbs up to the heavens while finger-like roots dig into the earth and embrace a blue lake. He had a well-considered interpretation and argued his view well. I saw it differently but conceded the point to him. We are both right!

Also appreciated are Miller's images of fruits, flowers, a proud peacock and a charming crocodile. The artist is adept at employing real subjects as a means to an imaginative end or, in many cases, a spiritual concept. Consider the painting of a candelabra composed of dancing white lines on a dark ground. It all but glows although not a candle is lit; the title is Hope. Miller's paintings suggest all's well with the world while they maintain a sense of innocent wonder.

Meanwhile, in the rear gallery, Lauren Perkins' paintings are quiet and serene. Time stands still in this world of minimal colour and simply drawn ladies. A few images have an underlying textural accent of either precisely articulated swirls or undulating lines. They do not impede on the image instead they suggest the movement of air and as such, breathe life into the paintings. Perkins also presents a candelabra in Heartfelt but hers is still and silent. Here a solid white light fitting is set against a pale yellow ground and although its yellow candles are lit, there is no glow on the girl in a white dress standing near, nor a shadow cast on the wall behind her. One cannot fault these well presented and carefully composed images, they are gentle works that act as visual mantras to open the door to an inner quietude. Perkins provide a retreat from the exciting, hurly-burly world found in the front gallery and beyond.