What I appreciate most about this exhibition is how the work demands we come up close and examine each effort. This intimate inspection of the exhibits by Therese Howard and Chris Atkinson-de Garis, and the wood-block prints, enhances the wonder and enjoyment of the experience, and reveals the works to be flawless. Considering the means and methods employed, by current and past practitioners, this achievement of excellence attests to the artists' love for their craft.

The collection of Japanese prints displayed provide highly rewarding viewing. The images include exciting narratives and contemplative studies. Each has an explanatory panel that opens the door to a better understanding and appreciation of the work. As much as the Ukiyo-e prints enchant with their reference to another world, I was particularly drawn by the eloquence of the cranes by Gakusui and the rhythm of the goldfish by Shoson.

With a similar aesthetic, Howard's intricate cast and painted bronze miniatures are beautifully balanced, not just in design but in their effect on the viewer. Each composition evokes an equilibrium between gentle contemplation and exciting viewing. Consider Sakura Wax, a small work that presents the charming figure of a kimono clad Japanese lady and a bud vase holding sprigs of Geraldton Wax set atop an elegant trinket box. Every detail of the intricate composition, from folds in the fabric to petals of the blooms, is fashioned in metal. It could serve as an alter to delicacy but as perfection lay only in the realm of the gods, a hint of worldly imperfection amid all this beauty is suggested by the presence of a perfectly formed bronze fly. This is truly a captivating work of art.

So too are Wascally Wabbit I & II, exhibits that turn the mouth from a little circle of awe to the broad crescent of a smile. These charming miniature rabbits, with wire whiskers, are set in small bowls and invite tactile inspection.  And we can't help wanting to touch the various shell fish and food stuffs strewn about on the table of Still Life of the Sea to ascertain if they are real or replicas. And one can understand why the glass dome is set over A Quiet Moment as we wouldn't want to disturb the wings of the beautiful dragon fly.

You'll be hard pressed not to stroke the seemingly soft and delicate wings of each life-like fabric Moth finely constructed by Atkinson-de Garis. Stuck to the gallery's walls or, as in the series Silent, half hidden in the patterns of wall papered panels, this colourful collection of silent sentinels can't help but intrigue the viewer. Each is unique, in hue and wingspan, in texture and presentation. If these are the insects attracted to the glow of a light on a summer night, I'd gladly open my windows wide and invite them all in! But it was Boxed Moth that held my attention and captured my imagination the most. All I could think of was how the brave creature successfully escaped being impaled on the pin but was still held prisoner in the specimen case. He clings to the glass exposing his underbelly, and revealing the artist's expertise.

Both Atkinson-de Garis' and Howard's attention to detail, and solid skill with their media, should be loudly applauded in a 'visual' arts world where verbal validation attempts to be more important then visual substance. If this first exhibition of '06 sets the standard for all following shows, it will prove to be an enjoyable viewing year.