Some people look for metaphors and symbolic references in still life paintings.  They hope to link contemporary works to a previous century where the repressions of that society leaked through luscious imagery, or they attempt to assign works to a particular philosophy that dictates 'nothing is as it seems'.  This is fine if one needs to validate a work of art with theory or any means other than visual excellence and technical skill.

Janet Green's paintings need no sub-liminal translation, they are what you see - on the surface, in the talent of the artist, in the pleasure of their being.  The artist invites the viewer into her world of fine drawing and use of the medium to engage in intelligent conversation with skill and beauty, place and taste.  Judging by the reactions of some visitors in the gallery, these lush still lifes in landscape revive fond memories of picnics past.

Green uses colour to connect very different subjects of still life in the near foreground and landscape in the distant background. For example, in Mandarin, Gwalia the colour of the large close-up fruit reaches across barbed wire to relate to the orange tinge of rust on the relatively small old iron house situated in the background. And the purple eggplant and yellow fruit of Lemons, Kalgoorlie (Burra Rock Rd) reflect the hues of the wildflowers in the landscape.

The artist also brings still life and vista together via implied textures and moods.  Crusty bread reflects rock formations and boxed chocolates on a dainty paper doily brings civility to country race meetings.  But it's Pomegranates, Breakaway Country that provides the most enjoyable viewing and food for thought.  One can't ignore the metaphor in this excellent work.  Here the reddish skin of the fruit encases the seeds of new life just as the red earth of this country contains regeneration.  The lushness of this painting ignites all the senses enough for us to say quite honestly, devil take the theory, let's just enjoy.

Another enjoyable aspect of this exhibition is a red sticker on every exhibit, which is all the validation one needs.  It symbolizes that the Perth viewer recognizes contemporary fine art when they see it.  This is a highly successful display, in every way.