There is a definite sense of clarity, of air and eye, in the work by this award winning artist. It's transmitted through the use of rich colour and simple figures. Nothing clutters the canvas or the mind, this is narrative imagery minus hyperbole.

At first glance Broun's work appears naive, with its limited palette and abridged imagery. But as the eye lingers longer a subtle sophistication is noted. Each composition has a concentric circle as its underlying structure. The bright red of the ground is applied with a circular movement of the brush while the images, which include people, dogs, cars and lollipop trees, are arranged around a central vortex and expand outward to a curved horizon. All under a clear true blue sky.

The sense of movement is exacerbated by the multiple viewpoints, including eye level and various degrees above it, in the one composition, creating a sense of soaring up and around the scene like a visiting crow. These images would caused vertigo if the figures were not so solid and weighted; they anchor us safely on the surface.

Broun's faceless figures are innocent shapes that define only male, female, adult, child, or animal. They tell us stories in the simple language of one who has heard and told them often. They're stories of everyday events that mark the lives of people in the bush. No great profound mystery or myth making here, just episodes from life, like a Family Day at Roebourne Races or boys playing a Cricket Game in the red dust, or a Girl with a Joey cradled in her arms. They also record the harshness of the outback in Waiting at the Flooded River where a purple ribbon of road is cut by blue water, and Cyclone which adeptly evokes the confusion that occurs between earth, water and sky during a big blow.

Using this same 'innocent format' some works suggest another facet of reality in the bush, the marginalization of some folk. For example Waiting for Government Promises, Shopping Centre Camp, and Ration Day, depict how black people are kept on the fringe as they remain outside the buildings built for those services. These images provide added poignancy to the lone man Dying in Country attended only by a few dogs and trees bent in sympathetic concern.

Braun's images draw us in, hit us with bold colour, and send us flying into the face of truth. The simplicity of her visual language only adds to the power of her work.