I was fortunate enough to view these exhibits in Perth prior to them being packed up and sent to Yallingup. Some might consider it unfair to evaluate an exhibition when its components are displayed on the floor or propped up against a wall but when the works are as well executed as these, they don't need periphery embellishments to look impressive. If fact, viewing them in such an informal manner only enhances the ideal balance of the designs and the precision with which they are composed. Each exhibit works well when viewed from every angle.

Broadhurst is well respected for her three dimensional collage constructions of gold foil and coloured paper, and this exhibition sees her developing the style further. The artist explains how the exhibits evolved as a response to events taking place in the Middle East yet despite the motivation, the works make positive affirmations. They also reflect the symmetry of design, repetition of motif and the richness found in Islamic Art.

For example in Poppy Field No.1 the gold foil surface is divided onto three sections. A large off-center square hosts a collection of shard-like shapes etched into foil and high lighted with red and blue pastel. Sections on either side include grids of small squares, each neatly accented by a piece of torn red paper. This may be interpreted as the debris of a fallen city and marked graves, or as the archaeological find of an ancient palace with richly decorated wall tiles. And Luminous, a gold foil construction of arches supporting excerpts from scripture that rise up from coloured patterns rubbed into small gold squares, suggests both religious fervour and Oriental opulence.

Along with her unique collage constructions, Broadhurst includes large canvases painted as fields of shimmering silver, rich black or vibrant pink. Some are studded with tiny fabric roses arranged in perfect grid formation, and raising above the surface to cast shadows suggestive of new growth. Renewal is noted too in some of the works' titles, like the large silver painting composed of a built up central section flanked by grids of tiny roses which is entitled In the empty places we will build with new bricks. And the name of a smaller exhibit, a canvas painted in cool magenta and hosts a field of tiny warm red roses is Hope.

All the works are of the highest quality ~ from concept, through construction, to completion ~ so we can appreciate them on many levels. We can enjoy the vibrant surfaces, consider the artist's creative imagination and skills, and find what we need in each well presented exhibit.