It's a delight to see this artist return to the gallery with a solo show. Gilby's sculptures dare us to think beyond our comfort zones as they draw the line between imagination and reality. Ah, but lines are there to be crossed and challenges met, which makes this exhibition an intriguing, engaging experience.

The artist sculpts the iconic Everyman then weaves around it various symbols and objects to articulate a narrative. Each work is a collection of contradictions - delicacy and strength, concept and object, fact and fiction - yet all reference our humanity. And it is this human connection that invites closer inspection and inspires lateral thinking, particularly the Apollo series.

Consider Apollo III: Orbit where a horizontal figure hovers over a dark shadow of himself. He wears a wire helmet, glove and boot, and a plethora of wire antenna and power towers on his back. We wonder if technology gives us freedom of flight or only weighs us down. Apollo II: Moth has a figure floating vertically over an image of the earth as seen from space. A disembodied head spits forth words as it floats, weightless, in a wire helmet while delicate wire wings sprout from the figure's back. Yes he can fly, he can soar into space, but to do so he must let go of certain human attributes. Apollo IV: Return depicts what could be two fellow astronauts assisting a golden man who has been partially transformed into ... ? Then Apollo I: Grounded reveals how we must disconnect from thoughts and emotions that hold our humanity in tact if we want to adventure into the unknown. The effort could leave us with disabled minds and spent emotions as this excellent exhibit suggests. But hope is personified in the life-size floor piece Star Poem, with feet firmly planted on the ground and two strong legs supporting a burst of imagination.

Also appreciated are the jewel like homages to Feminalia which exemplify the excellent skills owned by this artist, which may be overlooked when dealing with the powerful impact of his work. Do see this exhibition and don't be surprised when you find yourself thinking about Gilby's images and narratives long after leaving the gallery.