The annual City of Perth Craft Award is intended to stimulate innovation, promote standards of excellence, and showcase development within the practice of craft in WA.  The accompanying exhibition does all that, as well as delight the viewer with a visual display of wonder and beauty. One need not be fully initiated into the secret intricacies of the various craft practices shown here to appreciate the levels of originality and skill exhibited.

The variety within the individual disciplines is highly rewarding. Ceramic exhibits include examples of both functional and sculptural works, while a few combine the two purposes.  For example, one supposes Sea Vessel by Jenny Manson could function well as a vase, however, its graceful curves explode outward at the top in a sculptured effigy of the splash made by a drop in the ocean, frozen forever in solid form.  The winner of the Open Award for Excellence is a sculptural work in porcelain and earthenware clay by Helen Manson entitled Surface.  The exhibit presents a collection of creamy white, empty pod-like containers nestled atop a smooth square surface placed on a base gouged with 'worm' holes.  The composition intrigues with its contrast of shapes, textural effects and its suggestion of being the deserted nest of some unknown species.

Textile exhibits are displayed as either a drape, blanket or paintings but none really grabbed my attention.  And only a few exhibits involved wood. Of these, Theresa Vincent presents the most delicate collection of small, abstract shapes carved from pine and set on a shelf in her Hand Objects: Fish, Restless, Shell, Bone, Wing, Contemplation, Dancing Star, Uncrossed Paths.  The smoothness of the objects enhances the warmth of the wood and beauty of the grain to invite investigative handling.

The jewellery category can boast having the most entries, greatest variety of complexity in form and function and the winner of the Student Encouragement Award, Leah Tarlo.  Her exhibit Synchronous consists of five cog-shaped armlets constructed from various combinations of rubber, acrylic, steel, stainless steel, aluminium, brass, and chromed metal to display innovation and excellent skills in design and use of material.  All the jewellery exhibits are stunning but it is Mei See Liang-Jackson's Matahari that caught my eye and held my attention most.  This sterling silver and diamond pendant, shaped like the 'stays' of a miniature corset, is beautifully made, looks feather light and, I'm sure, is easy to wear.

As much as I appreciate the statement made, and enjoy the visual aspects of The Factory Hen's Eggs ... And Greed by Trudy Gripton, I feel it would be better presented in a sculpture exhibition as I can't see how it falls within the definitions of 'craft'.  But then again, that comment only raises the question of just where does the line of demarcation between 'fine art' and 'craft' fall.  May we never have a firm answer to that one.

What I find most interesting about this well presented exhibition is how my head was turned most often by the works of students. It must have been a difficult decision to select only one 'Student' award as these emerging artists/craftpersons display strong skills directed by exciting creative thinking. This augers well for the future of craft in Australia so we can all look forward to more splendid exhibitions.