“The work is stunning!” said fellow master enamellist Glenice Matthews when she asked me to review Debbie Sheezel’s exhibition. How right she is. Debbie herself accurately describes the works, which took 18 months to make, as ‘one of a kind miniature paintings; wearable art’ and says the process of making the collection is entirely intuitive.

Glorious, brilliant colours, bold yet subtle combinations, shadings and graduations and juxtapositions combined with flowing organic shapes are always key attractions in Debbie’s enamels.  It’s possible to totally immerse oneself in the miniature universe of hues and tones shimmering in a few square millimeters of one piece to the exclusion of everything else about that piece.  Then one can draw back and take in the entire work, gradually realizing how the artist has used form, flow and line in each piece to emphasise the subtleties of that miniature universe.

Stones of all kinds fascinate me, and in this exhibition, Debbie has brilliantly explored her perceptions of the delicate design and colour intricacies of some of nature’s most extraordinary secret beauties.

Sometimes, this intuitive exploration results in an almost literal extrapolation of the patterns in the chosen stone, sometimes more abstract; but always within the true origin of stones – nature, above ground, below ground, under water.  At other times, I felt a great sense of other, very human, cultural influences in the overall impression a piece made on me.  This was particularly apparent in six works, three of which had the ethereal sweetness of a Japanese scroll, two spoke to me of the best Aboriginal art, and for some reason, one brooch brought to mind the great C18 Dutch painter of flowers, Gerard van Spaendonck.  These are, of course, purely personal interpretations and responses – to me, good art works in any medium tell a story, create additional images and references in my mind’s eye, and each person who sees Debbie’s work will respond from their own life experience.

Some of the works are big and bold, others small and delicate, but always Debbie’s mastery of colour shines through.  The textured bezels around each piece are another Sheezel trademark.  And the stones themselves, unique and exquisite, reinforce the stories they have inspired the artist to offer us.

As a total novice who attended one of Debbie Sheezel’s workshops, I consider myself fortunate to have seen this master at work; combining as she does mastery of her difficult and demanding medium with a free flowing, spontaneous application of pattern and colour.  “I think we’ll have a little bit of this blue here, and a touch of that green there,” head on one side, 0000 paintbrush in her hand … until gradually, over a series of firings, the enamel delivers the image from her mind’s eye onto the silver canvas. Cloisonné wires curl obediently and foil settles precisely in place under her touch.  The appellation of Master Enamellist is well deserved.

This is an exhibition to remember with love.  Thank you, Debbie.