In 1993 the City of Bunbury's Collection Committee established the Bunbury Biennale, initiating a means of purchasing contemporary works of excellence for inclusion in their permanent collection, by artists of significance to Western Australia and the South West.   It is a means of expanding the existing collection based on 22 works of art donated to the City in 1948 by the late Sir Claude Hotchin.  The exhibition also ensures that the Bunbury Community has access to quality art and broadens the context in which WA art can be viewed and assessed.

This, the fourth Biennale, reflects the Committee's policy which advocates that works should generally 'be of a contemporary nature, produced primarily by young Western Australian artists, with emphasis placed on works which bear links to Bunbury and the South West region.'

Shaun Atkinson's work entitled Infinite/Finite is one of this year's acquisitions. Comprising two small and two long rectangular canvases, the work is presented in an adjoining corner of the gallery space. Depicting two solitary trees at sunset, casting shadows over vast fields, the paintings are an  interpretation of the landscape. There is a poignant sense of place as well as personal space in these simple statements.  They suggest, as the artist says, "feelings which go deeper than words," a contentment in living in one's chosen place.

Also selected for the City's collection is Andrew Leslie's Concrete.  Another piece that draws on the viewer's emotional response but in an entirely different way.  The exhibit consists of a structure comprising twenty large, slightly curved vertical aluminium bands that uses the principles of light, colour and refection to create a vibrant image that changes as the viewer slowly passes.

There are many thought provoking works in this diverse exhibition. Simon Gilby presents a complex sculpture depicting the trappings of 20th century living in Pioneer Home.  Surrounding two small figures, male and female, is an elaborate intricate network of stylized configurations of modern home appliances formed from black wire.  Meticulous attention to detail ensures a contemplative response and reflection on the word 'Pioneer'.

A chain mail glove, masses of electrical wiring and a literally 'hands on' approach are the means of expression for Philip Gamblen's Parallel.  In a darkened alcove a glove is hanging from a lectern with an invitation to put it on and move it over a studded circuit pad positioned atop the lectern.  A few feet away, at the end of a myriad of wiring laid on the floor, a screen winks with minute pinpricks of red lights that mimic the viewer's hand movements.  This is the only inter-active piece in the exhibition and it is satisfying to feel part of the work instead of a passive viewer.

A large contribution from others was made in the creation of Tertium Non Data.  One hundred and twenty-four people from diverse ethnic backgrounds contributed locks of their hair, which Olga Cironis wove into a large cloth and presented, rolled up, on a metal stand.  Behind the stand, leaning against the wall, are four large sheets of plate glass expertly etched with the names of all the donors and casting 'name shadows' on the wall.

Michael Iwanoff's From There to This involves six earth-toned panels mounted as a single piece.  They are marked in such a way that suggest ancient tribal drawings, or are they perhaps the marks made by burrowing insects?

A strong interest in mythology, metamorphosis and teratology (study of monsters) is evident in Susan Flavell's 20 Birds, an unsettling sculptural piece consisting of paper clay prehistoric eye sockets with glass eyes that gleam unblinkingly at the viewer.

All 22 artist in this exhibition have approached a variety of subjects in vastly different ways and employed a diversity of applications.  Every one of the participants is worthy of mention and the exhibition should not be missed.