For someone who uses a sewing machine as a doorstop and needle and thread only to refix loose buttons, the idea of 'sewing' or 'machine embroidery' is almost repellent. That is until I see how the adept use of these tools can and do create works of beauty and sheer joy.  Each exhibit is an object d'art, and if it's functional too, that's just a bonus.

Rawle presents a kaleidoscope of fine art and objects. Her series Surfacing offers a collection of collectibles. Small organza packets of beads and threads in rainbow hues are a delight to the eye. More funky but no less intricate is Bouquet a soft sculpture of fabric flowers collected in a felt vase. All are decorated with stitching and project a quality of fun. I also like Rawle's Tea Cosy, which looks for all the world like a stunted Bishop's Mitre.

Redlich's coats catch our attention. It's not that all her work isn't splendid, but her Daughter of the Waves and Oceania worked the imagination into overload. Oceania is the wearable definition of the term 'delicate'. This open weave waistcoat in shades of lagoon blues, with a fabric fish for a clasp, is ideal for balmy evening under the palms. But for walking along the shore line Daughter of the Waves is a little more substantial to keep out the breeze. This full length coat reflects the layers of the deep, frothy white and pale blue threads around the neck and shoulders deepen in value as the coat descends to the hemline. At the bottom of the garment, colourful fish swim in cool dark blues. A garment for Poseidon's daughter while the head piece Naiad makes a perfect crown for the maritime princess.

Morley too spins wispy webs of wonder with her Fragment Series. This collection of perfectly constructed 'tattered remnants' hang against either white grounds, black velvet or between perspex poles to captivate the imagination and delight the eye. The battle between 'to touch or not to touch' is excruciating. These pieces demand tactile inspection but the appreciator fears to do so would destroy the beauty, like disturbing a spider's construction. Morley also presents functional art. High Fandangle is a fascinating cape of knotted cords and tassels with a matching cloche hat and Leaf Bowl will serve a purpose for its owner, if only so they can touch it often.

What surprised me most about this exhibition was the reaction of male visitors. Most were impressed with the work and easily engaged with the exhibits as they would any other example of fine painting or sculpture. Good art needs good skills and the highly developed skills owned by these artists produce nothing less then excellent examples of fabric art.