Memories are tinted with emotional hues while hindsight is infused with understanding. This exhibition shows us glimpses of the artist's childhood presented in the warm colours of the Kimberley landscape and cool tones of 1950's social conventions.

Capelle has a singular style, one that is open and honest. If the sophisticated among us find it hard to grapple with a lack of underlying post modernist theory in her imagery, one can validate these well constructed paintings by relating them to Russell Drysdale's work. There is the same sense of Australian narrative, a chronicling of our own day to day experiences in these works that suggest the Drysdale link.

Narrative is important in Capelle's paintings. At times we are directed toward an idea by the title so we can put our own memory onto the image. For example Sensible Haircuts and Sensible Shoes a painterly rendition of a family photo of three little girls that could have been taken on a rural property or in a suburban park. You just know the frocks were made in three sizes from the same pattern. Other images leave no doubt as to the narrative. Blokes shows three fishermen listening to a fourth tell a story, and by the expressions on the faces of the listeners and the hand gesture of the teller, we know it's a tale about the 'one that got away'.

Most paintings are worked in monochrome or with a limited palette. The artist manipulates the nuance of hues well, either to capture the natural attributes of a place or suggest the feelings of its inhabitants. For example the diptych Homage to a Broome Sunset shows black silhouettes of figures dancing against a sky streaked with vivid colours, while the subtle blue and sepia hues of Broomemates suggest a sense of camaraderie between the boys.

Despite fashions 'dating' the figures, we recognize them as being timeless. The artists says, 'I am celebrating some of the small moments and ordinary rituals which punctuated my rural childhood..'. These moments and rituals continue today; we still find a similar social pecking order like that suggested in The Club, an equal exuberance at play as shown in the three delightful paintings Women With Balls, and the same sense of wonder for this country as depicted in Two Up where folk wait by a roadside campfire for the flood water to subside.

But my favourite would have to be the courage, freedom and joy shown by the 'foolish' ladies in the triptych View from the Edge. Keep flying Joanna.