To paraphrase Brett Whiteley, art is an argument between what it looks like and what it means. It's this dialogue that's important in Grant's current installation of three disparate exhibits that seem to somehow connect. The visual aspect starts the mind thinking and keeps it cogitating long after leaving the studio/gallery space. A compliment to the artist.

There is no doubting Grant's skill in whatever medium she chooses to employ, photography or sculpture. The exhibits here include Night Birds involving 52 fired clay birds, Breathe in and Hold consisting of 1500 hand blown glass balls, and a large colour print Cast River Flow showing a wax cast of flowing water.

The 52 separate elements of  Night Birds are arranged in an arc along the floor, commencing from a row of multiple components to end in a single bird. The birds are finely modelled with attention to detail, identifiable as parrots and water fowl, and all in various poses of death. Some are mature and appear to have fallen from the sky in mid flight, others are mere chicks fallen from the nest, all are black as if covered in oil. At first the exhibit is disturbing then it becomes provocative as thoughts begin to gestate. Notions of free thinking & closed minds, growing upward & cutting down, the pristine & the polluted, and our perception of reality, life and death. We're reminded how these dichotomies are separated by just one millisecond, one breath.

This is reinforced by the exhibit Breathe in and Hold as the clear glass globes vibrate, ever so gently, on a large, round steel mesh tray. They can be interpreted as oxygen bubbles in water or air pockets in the lung, each holding the currency of life. The movement is imperceptible yet we know it's important to the exhibit. Suspended above and to the side of the glass balls is a red bucket shaped light that projects a tiny red dot into each clear globe, opening up a whole new train of thought. I found a strange peaceful aspect to this work, despite the noise of the small motor, and that it's best viewed sitting on the floor next to it rather than looking down on the whole.

The large digital reproduction of a slide the artist took of her own unique sculptural practice is well presented. It hangs from the top of the wall and unrolls down to the floor. The image is beautifully composed with the pink wax 'splash' at the topmost edge while the rest of the scroll is deep blue. The image suggests that moment before ripples emerging from a splash begin to disrupt the smooth surface of the water. The splash is a result of hot wax being cooled by the flow of river water. Ideas of rigidity and fluidity, again a breath apart, linger even now.

These excellent works are visually engaging but it's the dialogue between what we see and what they mean that provides the most satisfying aspect to this exhibition.