The paintings by Lindsay Harris and porcelain vessels by Alana McVeigh are quite opposite in form yet they compliment each other as each, in their own manner, make reference to the land.

McVeigh's small beakers are so well formed they invite us to reach out and pick them up. We just know they will fit comfortably in any size hand. The clear fire-colours of yellow, orange or red of the interior surfaces are held in check by the cool clean white of the exterior. At first glance all vessels seem perfectly shaped but close inspection reveals how some host subtle indentations or protrusions. This, together with the addition of free form linear decoration, gives each piece it's own sense of beauty. These lines add a sense of importance to the works as they can be seen as scarring, of the body and the land.

Also much appreciated is her series Charred where the shape and surface of the porcelain seems to hold remnants of the heat, ash and burnt straw from the firing. Alana McVeigh creates fascinating work that is both delicate and strong.

Also fascinating are the works by Harris. There are times when a painting appears to be composed of simple motifs yet we know there's more to it than meets the eye. Lindsay Harris gives us these kind of paintings. There is something about the placement of shapes, choice of colour, and use of materials that suggest a form of communication that is intense and personal, unique yet universal. 

Employing a variety of pigments, ochre and resin the artist connects to his Noongar heritage and the land in a manner all can appreciate. I found the series Terrain, where earth coloured pigments are rubbed into raw pieces of hemp, contemplative while the series Reflection, with its white bones on black boards, intriguing despite compositional simplicity. There are the more structured compositions that speak via bold modernist shapes and colours. Some cry longer than others held my attention for it's sense of power and sadness. Here blue black spots float across a red sky and seem to dissolve into delicate streams, like tears, down to a salt lake. This work made me think of Spirits crying.

One would think the very different artforms, delicately formed porcelain shapes vs raw bold ochre and resin on hemp paintings would not sit well together in a single exhibition. However the two artists link their individual works via similar concepts and mark making. This is beautifully exemplified by how the black lines on McVeigh's white porcelain series Odyssey echo the white lines carved into the surface of Harris's black painted boards in his series Coming home. These works, indeed all the exhibits, have a potency and beauty that reaches out and touches the viewer.