It is hard to articulate the effect George Haynes has had on the art scene in WA over the last three decades. Perhaps because to do so would seem like monument building or merely spouting favourable prejudice. However, via his teaching career, numerous exhibitions and public commissions, and his involvement in the arts scene, it's hard to find anyone interested in the visual arts who has not been impressed by either this artist or his work.

When it comes to his art, colour is the only word. Yes, there is ideal composition and fascinating mark making and superb draughtsmanship, and more. Like Haynes's signature style that invites the viewer in with a simplicity of subject then stuns them with the complexity of the painted image. Like there being something so logical in the way he constructs everyday images in arbitrary colour. He has the ability to make an old house, a garden chair - or even a car choked traffic bridge - seem like endearing aspects of our environment.

In this exhibition there are series of paintings on disparate subjects. One collection of works shows different  figures in dappled sunlight, providing excellent examples of how well this artist plays with his palette. A yellow spotted reclining figure or a seated lady drawn in bright orange contour line reveals both the reality of white light - it is full colour, and the truth of painting - having an expertise with the medium and knowledge of pictorial components.

The series of paintings Fisherman's Shack is like an orchestration of a simple song.  Each image, in a different colour scheme and from a different viewpoint, creates its own sound. The finale has to be Candle Power. Here the subject is projected on a large canvas with its exterior, the surrounding sky, sea and landscape depicted in a deep sea green. The monochrome is relieved by a small touch of intense yellow in the lower left, illuminating the warm brown interior of the shack. The further away from the 'candle' the softer the light, the darker the cabin.

Also exhibited are large charcoal drawings on paper. These are excellent artworks in their own right, in particular the view over the back fence in From Peter's Place. If we want to understand the how and why of Haynes's paintings, look closely at these black and white drawings. Although they involve different images, we learn from these works how the manipulation of underlying tones and the dance of marks on the surface, activates the vibrancy of Haynes's colour images.

I have not met this artist, however I have met so many others who name Haynes as having a strong effect on their approach to art, that I feel certain the WA art scene would be much the poorer without his being a part of it.  If you want a delightful or  learning visual experience, do see this exhibition.