A walk around the block in Claremont takes you around a world of artistic expertise. We go from the exotic, to boyzone then girlzone, through the bush and end up on the shores of William Bay on the south coast. Glad I had some bottled water with me.

Muia's mixed media works on paper display human activity and relationships as they are, not as they appear in glossy TV soaps or magazine adverts. There is love and devotion, sex and erotica but mostly there is honesty. These images may be interpreted according to the experience or imagination of the viewer. For example Red Room shows a man and woman cuddled up on a sofa and if the lush red hue suggests they're in a brothel the plain furnishings, stuff on the floor and back view of the TV set equally suggests a domestic environment. There is a certain intimacy about the scene, it could read as 'after the kids are tucked in bed, mum and dad want to play at grown ups'. The same double reading exists in Couple and Blindfold and Mary Go Round as willing participants play adult games. They may be life partners or one night couplings, you decide.

Muia gives us clues to reading his work in the detritus of their settings. In the painting Mother, a poignant image of an exhausted woman with breasts bound and a child on each hip, we find a picture within the picture; one of butterflies pinned inside a glass display case. It speaks of lost freedom and imprisonment to remind us not every female is overflowing with maternal joy. Then there is the sense of tenderness in the broad shoulders of the dad in Father and Son. These clues and nuances work together with fine line and gentle translucent washes to set a mood. One has to say of this artist's works, they are thought provoking and what you see is only part of what you get.

The same can't be said of works by Malloch and Windberg. Excellent skills are employed to create flawless images of idyllic Australian landscapes that offer no room for contemplation. Malloch's bush pub clientele, landscapes and mustering scenes are finely executed in earth tones and sunset hues. They are appealing, they are true to life, they mythologise the outback, and it's been done before. Windberg offers highly realistic water-colours of coastal scenes in the clearest of blues and greys. I would like to see this artist take her theme into a larger scale as these well drawn vistas are stripped of their majesty and rendered mute by compressing them into very tight, very small, horizontal frames.

Callaghan's work is also idyllic, but at least there's no attempt at reality. Her clear cartoon colours and resolved compositions compliment the pure fantasy of her well drawn subjects. Voluptuous ladies are depicted at work and play in bright, perky landscapes to suggest a perfect sisterhood. They delight the eye but go no further. This is decidedly Girlzone with No Boys Allowed, except those to be toyed with in The Pool Player. Even then we know the blokes won't get lucky, in either game.

Boyzone and boy toys are found in a different space. Elliot's finely crafted war game Collateral hovers somewhere between the subtle finesse of chess and the overt kitsch of a computer game. For those who enjoy vicarious thrills gained from deathless killing, this meticulous model provides the perfect field for fantasy battles. You'll crouch down, nose level to the board, shout commands, imitate anti-tank gun noises then utter a death gargle and keel over. Boy's war games, what's to think about? The mood of bleak desolation caused by human ego is exacerbated by the well executed but dark paintings of obvious phallic symbols displayed on the walls.