It's always a pleasure when artists look to their own surroundings for inspiration rather than trying to find it in grand vistas or foreign  environments. By painting every day aspects of his home ground, Knorr elevates the familiar in all our minds. He takes us to the suburbs and shows us silent pockets in parks and unnoticed buildings passed daily by commuters. It is refreshing to be reminded that art is in the looking as well as the painting.

Knorr has an eye for imagery and the ability to put it down in paint. A strong compositional structure underpins most of these works, if not in the relationship of shapes then in the rhythm of colour or value. For example Park (Bayswater) and Riverbank (Swan River, Bayswater) are vibrant paintings. Each displays a lush application of glorious colour and strong play of tones put down in a variety of marks. Each defines a different mood, one catches a strong breeze in the high grass, the other offers a shady respite under a broad canopy of trees. Both are fine examples of 'seeing' familiar places and celebrating them in art.

The interior of a factory or hanger may be overpowering to most but if you worked in one, the familiar environment would not be imposing. Whether or not Knorr worked in these places or just spent a lot of time in them prior to painting Factory and Hanger is unknown. However, the images suggest he didn't find them alien. To the uninitiated, industrial work places may appear cluttered while those who understand the process see order in the chaos. Knorr has seen the order, painted it with sufficient confidence to demonstrate how those who work there understand the processes. In fact, the 'workers' in Factory are so familiar with their environment they blend in with the work place, they are part of the machinery. When you find them you'll have to admire their dedication, and the artist's presentation.

There is a certain amount of unevenness about the exhibition as a whole. Some images, like Park and Church, sing while others, like Trees and House, seem flat by comparison. Then there are paintings that hint at a 'dark' side, only I'm not sure if it belongs to the artist or this viewer. I saw something ominous under the natural bridge of Limestone, a spooky entity hiding in North Head and I wouldn't trust the black masked crossing guard under those heavy clouds and ropey wires in Deli to see me safely over Guildford Road. One hopes familiarity isn't breeding contempt.

In all it's an interesting and rewarding exhibition and I look forward to seeing more of this artist's depiction of the light and dark found in our colourful and familiar suburbs.