There is a sense of primal joy in Rowley's mixed media works. The joyous part is evident as no one can remain po faced for long when surrounded by her colourful concoctions and dancing brolgas. The primal element springs from that core of humanity that transcends generations and cultures, one into which this artist dips her brush.

Rowley's use of the crane, a symbolic icon to some - a silly image to others, is the perfect vehicle for bringing us out of ourselves and setting us free so we can dance knee deep in the joys of life. Whether these brolgas are abstracted into mere white blobs on sticks, depicted in anatomically impossible poses or presented with regal grace, Rowley's long legged water birds are the essence of grace, fun and freedom. They also provide a perfect shape to hold us to her highly textural surfaces.

Rowley plays with paper to produce intriguing supports for her unique imagery. Thick card or thin tissue is cut or torn and used as collage on heavy paper. The various textures make their own contributions to image, media application, compositional structure, and emotional, as well as tactile, aspects of the work. For example in the series Water Flowers we see white blooms atop long stems that grow from golden yellow sand, through a heavy collage of dappled silver water, up to a clear blue sky. And the Laguna Bay series presents brolgas painted on strips of smooth card placed over thin tissue collaged on rough paper, which has been washed in silver paint. These works offer a rewarding variety of visual sensations within a well constructed image that engages the imagination.

This exhibition reveals a subtle shift in the artist's direction with the addition of more exotic imagery that references the myth and mystery of the middle east. Her series Facing Karnak involves three images, each a single head in profile. There is a definite Egyptian flavour as the faces are treated like icons, they are drawn in black line, accented with gold and surrounded by motifs. Meanwhile Rhythm of Life I and II are long horizontal compositions consisting of what can only be called 'glyphs'. Each delineated section contains a different stylized emblem, either a fish, figure, flower, shell or the ever-present brolga, in no relation to each other but complimentary to the whole. We may not be able to read the writing but we gain a sense of hope from the message.

In landscapes Rowley continues to employ 'bands of environments' suggesting above, on, and below a watery or earthly realm. The demarcations are made by colour or texture, gold leaf or collage, imagery or abstraction and held together with calligraphic marks that are like bursts of energy in each level of the landscape.

The textures of different ideas and papers, colour and collage, gold leaf and white bloom, tiny shell and universal symbol, and long legged birds that kick up their feet, are brought together here as witness to the rhythm of life in one fantastic exhibition.