Eveline Kotai's work alludes to the integrated fragmentation of the human condition, of individualism and society as a collective.

Much of the work featured in this exhibition comprises textural assemblages, where individual pieces of minute painted canvas are conjoined with almost undetectable stitches.  As fragments, these pieces speak about the nucleus ~ the reducible elements of life, where creation is traced back to atomic molecules.  Unification, however, brings the disparate elements to a greater role of relevance and points to the broad picture ~ the movement of the masses, the multiplication of living things and industrialization, the resilience of the human species, integration of culture and assimilation of the many races of mankind, regeneration of the earth and the purification of the positive living force, and ultimately spiritual growth and global evolution.

In fact, when you consider the piece Windows '03, each individual component can be perceived as a flag, symbols of nations, yet when arranged with the lightly coloured fragments almost centred and darker fragments to the left and right side of the picture plane, the dynamic is enlightening.  This reflection of light, a channel of white and pastel rising through the centre, reminds one of the pursuit of the higher reality; the soul instantly follows this guiding river that flows from the ground to the sky.  The title calls to mind the ancient truth ~ the eyes are the windows to the soul ~ the viewer connects intimately in this way to the artist.  The individual pieces of painted canvas are in actual fact cut from Kotai's previous landscape paintings, providing an autobiographical reference to the artists career, to her own transitions and transformations.

The large-scale work City Shapes is a profound example of Kotai's skill with this technique.  In this 3.5m wide assemblage of tiny pieces, the artist portrays a landscape view of the city, Melbourne.  Again the structuring of the artwork refers literally to the building up of architectural structures that have become the 'progress' legacy of the past century globally.  Paradoxically that which seems to be invincible is an indicator of a greater frailty, lest we forget the fate of New York two years ago. Koitai's assembleges are asymmetrically arranged so that the edges of the images are without an 'even' fromation, that is an appropriate reference to the expanding edges of the urban map.

An example of Kotai's sensitive handling of colour is a beautiful 'drip' painting in acrylic called Drizzle where translucent pale orange and pink merge in soft linear patterns. A series of 12 drawings of pastel on paper entitled Drawing to Melbourne are striking for the subtle and brilliantly interpreted colour contrasts, and are angular in nature.  The only regret is these exibits are hung in an untidy manner, attatched to the wall like posters.

A series of small-scale works called Dot-to-Dot recalls the theme of connectedness.  One in particular is reminiscent of Howard Taylor where a sphere in the middle ground is surrounded by nucleic markings. These markings are minutely applied stitches of coloured thread and tiny beads, applied in a grid like fashion, demonstrating Kotai's sharp attention to detail.  The border surrounding these stitches on the edge of the painting is equally fascinating.  A frame of white paint with little punch holes reveals the underlying canvas, adding incredible tangibility and intrigue to the entire artwork.  Overall this piece has an ethereal quality, and is a reminder that apparently invisible fields of energy connect everything in the universe, and we are part of this large-scale dot-to-dot phenomenon called life.

Ultimately Eveline Kotai is accomplishing many artistically admirable aims in this era of propaganda.  The thread of her work significantly enhances the textural vista of society.