The new year or millennium starts with an exhibition inspired by a timely theme. The title references the decomposition of plant manner which mixes with other material to create an organically rich soil from which new life emerges. These five artists employ a variety of media, each in their own style, yet the exhibition comes together well as a homogeneous presentation that  has us contemplating nature in different ways.

On entry we are greeted with a dry rustic smell emanating from Schenk's installation composed of natural fibres and found objects. Stripes of natural dark brown and tan, derived from dried leaves, twigs and gum blossom 'hats', create concentric circles surrounding a large central 'nest' constructed of felted fibres. The nest is stunning with an outer layer that seems to peel back; it holds a collection of white clay beads, about the size of honky nuts, while suspended above is a ball woven from thin twigs. It is the most intriguing exhibit, the artist works well with textures, natural hues and even the smell of the bush. When we crouch down to better appreciate the collection of detritus we notice small ants going about their business. The transplanted 'dead' bush still fosters life.

Stewart handles the more traditional media of acrylic and pastel very well. She paints intricate patterns caused by interwoven strands of wild grass, root systems and leaves hanging precariously from thin stems. Her imagery refers to fecundity in nature and her keen drawing skills help her express this theme in a variety of works as a comprehensive collection. Journey is a fine study in muted dark tones nicely balanced by the white of a feather's tip and the shell of a broken egg.
 
Clinch-Omozik employs handmade paper, collage and gouache to construct small abstractions that evoke ideas of landscape. Where others sometimes lose compositional control when following the random textural aspects of handmade paper, this artist maintains a stable image without constricting the sense of freedom in nature. Humus shows a dark brown ground which supports eight small off-white rectangles linked by a rope of swirling grass. Each of these small rectangles host two even smaller details cut from photographs of bush detritus. The whole suggests levels of decomposition, from the bright new fall, through the bleaching process, mixing with other materials to become the underlay of rich dark soil.
      
Rich and dark soil is suggested in the triptych by Catalano. The composition entitled Last Battle of the Swan River Lands Earthpainting involves three weathered pieces of hardboard. Flaked, torn and with earth rubbed into their porous surfaces, they represent a section of the river in the Midland region. These earthscapes are daubed with fluro shapes that suggest tears and darts. The battle seems to be between the value of sacred sights and commercial development. Very thought provoking.

Roberts' paintings include a portrait, floral motif and landscapes in varying degrees of abstraction. Her play with brushwork and use of colour is very well done, in particular in the large four part painting centrally located on the back wall. Unfortunately there are no labels with titles to guide us into her abstract works, so we're left to wonder what has been divided into quarters and why fish skins are collaged onto a blue-grey painted ground swirling with what appears to be small square air bubbles.

All around a highly satisfying exhibition, see it, think about the earth we stand on, appreciate it - and the art on display.