This is an eclectic collection, a variety of art forms and styles in a range from mediocre to excellent.

Let's start with the best, Andrew Daly's work in the Main Gallery. Daly is well known for his fine execution of still life subjects and portraits in a realistic style. It seems nowadays this idea is supposed to be passé but let's face it, sometimes it's nice to sit and contemplate an image without having to duck from its political message. It's also refreshing to view real drawing ability, examine fine brushwork and appreciate colour that is used well. Daly's still life paintings are stunning, in particular Shell for the delicate rendering of a such a mundane subject, and his drawings as 'studies' for painting provide interest. It was difficult to pick a favourite among the portraits which seemed wooden, until I saw Self Portrait in a Red Shirt. At last the artist offers something more than just a flat picture of his subject, he gives us volume and sensitivity. I came away from this exhibition exhilarated and exhausted; it was like experiencing a whole semester of Art Lessons in one go.

A visual history lesson takes place in the Centrepiece Gallery with an exhibition of traditional Japanese textiles from the collection of Sue Leighton-White. The 'blurb' tells us these are the efforts of ordinary folk who stitched, patched, layered and reinforced discarded fabrics for practical reasons. In the service of function and born of necessity, simple stitches and complex patterns were invented. The result; elegant eloquent examples of textile art.

Along with the traditional Japanese exhibits, Wendy Lugg presents her own contemporary textiles which are informed by the Oriental examples. She successfully captures (not copies) the style and makes it her own. Lugg's Desert Cloth III involves muted ochre hues, gentle waves of stitching and wispy lines printed on delicate patches. So gentle yet evocative of a harsh land.

These textiles are complimented by the exhibition in the Hall Gallery. Lucy Bromell enchants the viewer with her series Falling Leaves and again with the soft grey on grey of Banksia. Bromell recognizes that when working with flimsy fabric, subtlety of design, meticulous edges and care with presentation engages the spectator's interest; 'tis a lesson Angela Ferolla should learn. Ferolla's work is ponderous. I suspect her 'outfits' would be uncomfortable to wear and difficult to move in. Her embroidery is very good, although at times over the top. For example Dreaminess (dress) works but Sweetie (dress) is just too much. I did like Joy as the heaviness of the top is nicely countered by the well-screenprinted wrap skirt.

Upstairs in the Kathleen O'Connor Gallery, Jill Kempson presents pencil drawings and gouache works, precursors to her Fremantle Festival poster. They reveal a creative mind at work, exercising ideas and solving compositional problems. Also exhibited are paintings inspired by aspects of Fremantle and its harbour. These are richly coloured illustrated dream scenes that appear lonely but not sad. Precisely composed and skilfully executed they suggest everyday mysteries and evoke narratives.

All this precision and skill is wildly contrasted by the chaos of Linda Ullrich's work which is decorative, colourful and coarse. There is a boldness one has to admire here, not in the work but in the artist exhibiting it. I couldn't tell if we are supposed to find something in the images (a vase or a figure maybe) or just engage with the surface or read the explanation on the price sheet. I didn't do any of that. You have some stunning brush work and a colour consciousness going for you Linda, use them. Cut outs, collage, gold paper, textural effects and small type on purple paper do not make up for lack of communication.

All in all a splendid day.  Well done FAC, and thanks for the seats in the Main Gallery.