It's only right and fitting that this first major survey of art by Robert Juniper be held in our own state's gallery. It gives the people of Western Australia an opportunity to see how one of our most respected artists has developed his distinctive style and to celebrate that talent.

The exhibition is well displayed with sufficient space around exhibits to allow the viewer to engage in each canvas with little intrusion from others.  This is important with Juniper's later, larger works that need to be explored as much as viewed.  Another consideration to the public is the addition of 'Looking Closely', laminated sheets of didactic commentary that accompany some exhibits. These comprehensive notes assist those who may want help in 'reading' the painting. Like reference points in the real landscape, they help us navigate through an art style and imagery that might otherwise be overpowering.

This survey of Juniper's fifty years of practice reveals how the artist's current work is the cumulative effect of a steady evolution in style.  Exhibits dating from the 1950's suggest how the artist flirted with aspects of British and European modernism, including the works of Sutherland and Klee and the movements of Cubism and Abstract Expressionism. Works produced in the 1960's reveal a consolidation of these influences together with an Australian point of view, both conceptually and practically. Paintings and sculptures from this decade show the artist experimenting with colour, texture, motifs and material. For example, Landscape With Artifact (1963) has an iconic figure of weathered copper affixed to a textured red ochre ground composed of plaster, hessian and oil paint. While the 60's record the development of Juniper's signature style - impasto layers of rich colour etched into with the draughtsman's fine line - the 70's saw it perfected. The works from this decade provide the imagery most often associated with Juniper.

The 80's reflect a more decorative, lyrical style as the artist rediscovers patterns and hues of his earlier work. Consider how the boats found in Broome-inspired images of the 1980's and 90's relate to those found in Drying Sails (1954).  Through revival the artist progresses. For example, compare Bar at the Palace Hotel (1956) with Lunchtime Game at the Johnno (1988), two images of blokes in a pub. The former is painted like a frieze with vertical figures arranged in tight groups along a horizontal plane. Although there is no crowding, there is only minimal depth and no sense of relaxation. The latter offers dual perspective, an aerial view of the interior and horizontally out the window. The figures loll about like fluid shapes contained within their defined contour lines. Both paintings are as much about the surface as they are about the subject, a commonality that links them across the years, however we stop short on the formal surface of the Palace while we drift into and around the Johnno.  The former is painted in a modernist vocabulary while the latter demonstrates how the artist has developed his own visual language, one that is more relaxed, highly personalized yet easily understood.

With confidence, minus complacency, the artist's talent continues to evolve in this decade. ( See Review of 1999 Exhibition )

This exhibition reminds us that Juniper is a fine sculptor as well as painter. From the smaller works composed of found objects to monumental organic 'explosions' or hard edged Zanthorea, the artist is able to capture our imagination with his adept manipulation of metal.  Then when you're suffering from total visual overload, rest by the drawings of sleeping dogs. These  gentle images reveal the strength that underpins the powerful works all around you, they tell us that Juniper is an excellent draughtsman.

One has to congratulate the State Gallery for putting together this informative and visually rewarding exhibition. Unfortunately WA all too often falls victim of the 'cultural cringe', bypassing the best of its home-grown talent to marvel at mediocrity that originates elsewhere. Thankfully not this time. Juniper has won sufficient kudos over the years to rank him with the best from anywhere.  This retrospective of his work not only recognizes this artist's contribution to WA's art and identity, it provides Western Australians with a sense of ownership of a great talent, one that is home-grown.  See it - more than once.