I recall reading how 16th century nuns wore a full length shift under their habits. They never took it off not even to bathe so as not to be tempted to look upon a naked body, including their own. Today, women's undergarments are so minimal they accent rather then hide the body and are exposed not hidden. Oddly enough, in the 16th C the depiction of the nude figure in art was quite acceptable while today it is often rejected. Go figure.

And the 'figure' is what we have here; beautifully drawn and sculpted images of the nude in a variety of poses both exotic and erotic. Anyone disgusted by this exhibition is only reacting to their own mind set, not to the subject or the well presented works of art on display. The human form is basically a collection of volumetric shapes and specific angles arranged in symmetrical balance according to proper proportion, which makes it the most intriguing and difficult subject to draw or sculpt. What this exhibition displays is how well the artists have mastered the skill so even if you don't like the subject, you're sure to enjoy the art.

The nudes are mostly female, perhaps because the feminine form provides a more interesting undulating line as noted in the black and white drawings by Ian de Souza, Camilla Loveridge and Maggie El Mugheiry. These artists suggest volume by weight of the line alone, while detail is suggested or omitted inviting the viewer to finish the image in the mind's eye. Meanwhile Wim Boissevain and Andrew Feeney use colour and partially clothe their subjects, which tends to emphasize what is left bare.

Patinated bronze pear shaped sculptures by Greg James are sensuous and female, while the fine photographs of Lily and Anthurium blossoms by Caro Lunel are erotic and male. These works are excellent reminders that what the eye sees may be interpreted differently by how the mind thinks.

Cedric Baxter and Jann Rowley are inspired by ancient concepts of sexuality and coupling. Baxter employs Biblical themes and his small ink line drawing Adam. Eve. Apple. Serpent. Eden suggests the real story of the temptation. His large drawing Cluster of Grapes is a beautiful testament to physical love. Meanwhile Rowley's Arrista is a mythical coupling, one that suggest the power of sex. Her Jill and Tina are delightful goddesses that dance to the music within.

We kept returning to Christopher Spaven's Close Encounter Life Study for it's quick-sketch like quality and how the artist captures the energy emitting from a full-body embrace where the two become one. We also returned more then once to Ken Rasmussen's finely painted fully clothed man on a horse with a dog, to ask "Why?" Go figure.

An excellent exhibition, one not to be missed by lovers of love, of the figure, and of fine art.