These three artists have fostered a special relationship with the landscape and each employs her art as a vehicle to journey through nature, beyond time, into the self. Because they are all inspired by a sense of connectivity to the land we find subtle connections between their very diverse art styles.

Mary Knott's mixed media works on paper are still and quiet. Her precise drawing and use of flat colour in tonal rhythms offer a sense of the almost familiar. After a time we cease trying to define where we are geographically and just enjoy the peaceful state of mind these paintings evoke.

Knott's sculptures are also serene while suggesting life's journey. Many of her figures sit hugging their knees or lie curled up in the foetal position in small pod-like boats, while some lie flat on their back in long, coffin-like vessels. They appear to be in transit, spiritually or emotionally, or in the process of becoming new. Amazingly Knott's bronze works manage to retain the same sense of delicacy as her cane and paper structures, and her small sculptures are as potent as those on the larger scale. For example both the small bronze Rite of Passage 1, and the large cane Solitudine offer a different yet equal sense of hope, of strength, of waiting for the metamorphosis to be completed.

Small unique state bronze sculptures by Julie Parsons have a different sense of life, one more rhythmic. These nude female figures with child bearing hips evoke a sense of joyous movement as they strike uninhibited postures from the dance of life. They retain the fluid effect of the wax models and wear their blue-green patina well. The tactile energy evident in these excellent little sculptures is misspent on the artist's cumbersome, heavily textured paintings in garish colours. Parsons overworks the surface in an obsessive manner attempting perhaps to evoke ancient powers. (She could take a lesson from the captivating raku bowls by Joanna Wakefield that reveal a mature, subtle evocation of potency.)

Juliet Stone knows how to evoke the power in nature on the surface of her work in a more subtle manner by understanding that the medium has it's own voice. Like Knott, Stone's paintings have a sense of the serene albeit with a high key palette. Her colours seem to hum the harmonies of nature as her brushwork caresses the subject. The large painting Luminance suggests gentle undulations of hills, meandering waterways and heat rising from the land, shimmering. Stone's works are strong in painterly technique yet the surface seems to whisper ideas rather shout orders. Her small blue All the Rivers Run is a gem.

All in all this is a very interesting exhibition for its colour, diversity and connections.