If you appreciate beautiful and finely crafted objects, functional or not, this exhibition won't let you down. Think of any base medium - textile, wood, glass, metal (precious or practical), clay, plant fibre - and you'll see how it can be transformed into something amazing.
Assembled in the one gallery are 30 examples of work by some of Western Australia's most experienced and well respected artists/craftpersons. Each brings to their work skill, intelligence, honesty, creativity, emotion and a willingness to transcend pre-set boundaries. Exhibits range from the simple to the sophisticated but all are equal in grace and favour.
Against one wall is Nalda Searles's Fire Basket, a smoothly sculpted bowl of intricately woven natural plant fibres. Come close and detect the scent of past bush fires and new growth contained in this piece. In front of the glass wall on the opposite side of the gallery is Dean Malcolm's sheoak vessel Untitled. This painted 'pleated' form with its smooth wood interior sits neatly in an acrylic stand to reflect different shades of yellow-green as we walk around it. Although different in form, function and material, the perfection of both works serve as brackets for the excellence displayed in between them.
Finely crafted jewellery always provides interest. Jaquie Sprogoe's brooch of enamelled copper with gold foil set in sterling silver speaks of autumn leaves picked up by the wisp of a breeze. And Brenda Ridgewell's Articulated Brooch of oxidized sterling silver suggests a mechanized modern dance that can be choreographed by the wearer.
Bronwyn Goss and David Walker both take jewellery into the realm of sculpture. The gilding metal and silver Cocoon for a Rosary by Goss is a precious object that speaks of the interconnectedness of nature and spirituality. Meanwhile Walker's stainless steel and paper Morph series suggests seed pods opening to disgorge mechanical structures. All fascinating work.
Ceramics too is well represented. Helen Manson's mini installation Process is composed of porcelain, earthenware and paper clay to form a collection of small pink boxes and white open grid cubes. The presentation suggests either the formation or disintegration of man-made objects. Alison Brown's porcelain work Thin Threads appears on the outside to be a traditional deep vessel when in fact it has a shallow interior. The piece is reminiscent of a mollusc shell, not for its shape but for its creamy smooth interior and darkened rough exterior, both tempting a tactile inspection.
Wendy Lugg's textile work Smoke Veil of quilted cotton is a rich and powerful statement on how fire is part of the Australian environment. Its destruction is the first step of regeneration, an idea inspired by the ragged bottom edge and perfectly stitched grid of the upper section. The strength of this work is complimented by the delicacy of Bed of Flowers by Elsje van Keppel. It is only right she be represented here, the artist may have passed away but her spirit imbues her work and lives on.
Do see this exhibition, do enjoy this celebration of creative innovation and well manipulated materials, to experience the exciting beauty of it all.