Painting studios located in art departments of tertiary institutions provide a unique atmosphere for student artists. This is where they can safely face challenges, travel roads of lateral thinking, doubt their ability, be encouraged by fellow students, and receive guidance from instructors. This is all well and good but only when art schools provide, along with the above, basic lessons in practical skills. It would seem, judging by the majority of exhibits displayed here, that last criteria is missing.

Although well presented, this collection of work by some 34 students reminds us that a Proper Piece of Paper from an Official Art School does not an artist make. First of all, if you want to draw/paint the human face or form, either from life or a photograph, please access a book on anatomy to learn how bones and muscle construct the face and figure. Then by all means feel free to distort for an emotive effect, just don't use the 'emotion' card as an excuse for lack of competence. And yes artistic explorations, experiments and unresolved works are important but only when seen in the studio as steps along the road to personal discovery and learning, not when exhibited for sale in a public space. As for photography, it is an excellent artform, one that provides a wide scope for individual creativity in this digital age. However a collection of domestic photographs taken by a variety of contributors from around the world may be a cute idea but it doesn't testify to a command of creative or artistic dexterity owned by the person who organized the backyard blitz.

Of the 179 exhibits on display I would label only a few as 'works of art'. They are by practitioners who own levels of ability in both creative concept and competent practice to produce viable outcomes. These grads show promise of an interesting journey ahead and I wish them all the best.

The most impressive exhibit has to be Jane Lawton's massive black and white drawings of moon and bull. This series gives an otherwise blank space the awe and majesty of an ancient, carved temple wall. The ability to retain mood and proportions within the confines of the medium and over such a large surface is inspiring. Also very much appreciated is Elizabeth Marruffo's large paintings in the series My Hometown. Each work attests to the artist's excellent command of the medium, attention to surface interest, well-honed drawing skills and an eye for intriguing imagery that engage the viewer on many levels.

Campbell Whyte's collection of erotic works in Fearful Symmetry also engages viewers. These well devised works invite close inspection and, although small, provide room for the imagination. Much appreciated are the delicately drawn lines and how some images are punctuated by the occasional collage of 'stuff'. Meanwhile Giada Dalli Cani's The Cove - Cottesloe is a well presented installation that actually works as it creates a contemplative mood with its intriguing artwork.

Sylvie Fiddes' strong paintings and affiliated multi-layered 'cut outs' are well constructed works of clear colours, albeit a little messy in some places. Each exhibit is individually titled, some with a poetic 'phrase', and all reveal a talent for imaginative book illustration, scenery design, and stick puppet making. Then there is a glimmer of hope in Jean Prendergast's attempts at traditional landscapes. When she learns to finesse the brushwork as well as she does colour, her works will hum - with or without an image. As for all other participants in this exhibition, here's wishing you good luck.