Most people identify a place according to how it looks; leafy suburb, sunny beach, broad vista or city street. Artists try to capture this 'sense of place' by showing us how they see it; cool and comfortable, hot and sandy, vast and lonely or crowed and colourful. Painters then populate the picture with either patrician families, bronzed beauties, kangabloodyroos or odd urban characters. But this only shows us the surface. If home is where the heart is, artists should attempt to capture its underlying mood, not just illustrate where we hang our (race-day, towelling, Akubra, or pork-pie) hat.

Belyea has done just this. He successfully captures the hot blood pulsating through an artery that feeds our suburbs and city. He shows us the heat that radiates from the bodies, thoughts and emotions of those immersed in the environment. He doesn't show us what a place looks like, he tells us what it feels like to be there. He doesn't draw people as much as depict humanity. Belyea has captured a 'sense of place' that is as awesome in its transience as the great outback vista is in its permanence.

Small images in blood red, shadowy black and warm yellow suggest faces or figurative forms. Each exhibit is named after a train station between Midland and Perth but the geography of the rail line is not as important as the people who traverse it. Day and night the young and old go to and from for a purpose or to waste time. Belyea has captured the essence of those who occupy this timeless space of neither here nor there, yet follows a schedule through specific suburbs to a named city.

We see faces with features blurred by hurry. Some seem angry or it may be confusion. Where line is used to articulate an eye or lip we are reminded of Belyea's keen drawing skill. Groups of mute forms loom as back-lit dark solid shapes that cast long narrow shadows running away at sharp angles. Edges are soft but scraping the medium adds a gritty harshness and movement is derived from the merging of hues, attesting to the artist's ability to get the most from the oil medium. Then tension is created as each image is tightly contained in a simple black frame.

Belyea has created a picture of Perth without painting a building, he has identified its people without defining an individual, and captured a sense of place without using blue and gold, ochre and silver-green. This is not just a depiction of the dark underbelly of a city, it is a view of a whole society in transit, moving from a dream to the reality of a world in transition.

As we've come to expect from Belyea; excellent and thought provoking concept, excellent and visually rewarding work.