Jewellery, as an art form, is employed to adorn the body yet it is often inspired by objects and aesthetics that exist in or emerge from somewhere beyond the vessel it is intended to decorate.

In this exhibition the artists have taken 'the body' as their theme and explored it's physical and non-physical realms. They have gone through the observable outer covering in an effort to reveal a variety of  inner aspects that constitute the whole person; structural bones, binding muscle, living memories, cultural constructs. The resulting exhibits make fascinating viewing.

Blyfield fills a 'museum case' with memories skilfully crafted into sterling silver objects and sweet pea seed jewellery. Her series Shells involves pierced spoon bowls and their separate handles. They are like much loved tea infusers that have dissolved at the narrow neck through continued use or a rediscovered old spoon collection once treasured by some travelling maiden aunt. Meanwhile, the Sweet Pea(rl) necklaces call to mind 'woman's work' and the resulting birth of most crafts. I can envisage three generations of women sitting at the kitchen table, shelling peas, laughing and making either food for the family or decoration for the daughters. We are not so much what we eat as what we remember.

Lorraine also chooses to exhibit her work in a case, this time a back-lit display cabinet. The open metal doors reveal black mild steel constructions that depict the bones, muscles, veins and skin of the hand. This exhibit holds the same eerie fascination of biological specimens stored in the science lab, minus the macabre element. There is an intriguing sense of strength combined with delicacy in these works, calling to mind the power of fingers that hold on and the eloquence of hands that speak in the hula.

Matthews reverses the idea of the body wearing pieces of jewellery by having her jewellery 'wear' pieces of the body. In her series Body of Illium sterling silver is pressed into elegant brooches of abstract shapes that identify with those found within the body. These are displayed on hanging boards in groups of 3 to 16, which allows the viewer to approach a set as a collection and note how each piece compliments the other. Also part of the series are two neckpieces, pendants on long cables that are suggestive of torsos, only because we want to 'identify' these sensuous undulating shapes. This 'body of work' is beautiful.

Three red and three white splayed, twisted, folded and circular shapes make up Truman's series Invisible Places to Be. Carved from English lime wood and mounted on the wall like relief sculptures, they look familiar, like some form of ancient writing. But the interpretation of these symbols is just beyond our understanding. Perhaps the sense of familiarity comes from the works being inspired by those muscles hidden beneath our skin. They hold us together, allow us movement, they are as familiar to us as 'the back of the hand' even if we've never seen them. The intricacy of the carving provides one level of appreciation, tactile interest another, but what intrigues most is what we want them to say.

All that's left to be said is this is an well presented exhibition of well crafted work by highly skilled artists. Do so see it.