When this site first came on-line three years ago, few galleries were interested in the World Wide Web. Thankfully they have changed their outlook and, as you'll notice on our LINKS page, all but a few are happily exhibiting in cyber space. It has always been our rule not to judge art through the monitor however in the above instances we felt the rule could be bent as sufficient examples of the named artists' works have been sited in situ, and we couldn't get down south to see these exhibitions.

Marj Bussey's works take us from our inner being to the outer reaches of the universe, and back. The artist allows us to transgress earth, water, fire and sky until we find out origins, our destiny, ourselves. Her works are either large enough for us to fall into, or small so they seem to speak directly to the individual. This influence of size and the rich texture is lost in the electronic transmission of her work however the door to our imagination remains open on-line.

We can still discover in works like Mystic Spiral the passageway from the cosmos, through the magma to the beginnings of the ancients. And how in Nightwind peace (or is it chaos?) finds a way through the barrier, and enters into (or escapes from) our structured world. When viewing Bussey's work one has to let go of conventional interpretations and allow the inner self to float free. We needn't worry as we're held safe by the perfection of the grid and the balance between the painted fields.

Skrolys and Sheridan take us to different fields, those that grow into hills or fall into gorges. This site informs us how the images are set at a low resolution, for fast loading, therefore may cause a loss of colour, tone or texture. If this is true, work must be visually exciting is situ as they certainly look clear and bright on my monitor.

Sheridan pares the landscape down to powerful shapes constructed of strong, warm colours to provide a sense of immediacy. His works are like bold steps through the landscape and the artist seems eager to share his joy of the experience with the viewer. What could be justifiably depicted as formidable is presented as friendly and we are invited into these vistas via compositional devices. For example, in Wittenoom Gorge we enter the landscape across a gentle foreground that leads to the layered, conical hill with its head wreathed in lacy clouds. Despite all this 'welcome to my world' approach, some may still feel intimidated. With the exception of one road, there is no evidence of the human presence in any of Sheridan's work.

Quite the opposite in mood are images by Skrolys. Here is a greener, cooler Australia, one that may be populated but is certainly more difficult for the viewer to access. Compositional barriers are erected between us and the landscape as the artist seeks the comfort of the oasis. Karajini Afternoon, Meditation and In the Silence are relaxing images where figures float in the shaded silence of paradise but we cannot enter or share the quietude. Each image employs trees to bar the way so we remain forever a voyeur, a passer by. This feeling of dislocation is felt again in images that include an orange horse. The ochre coloured animal can be interpreted as a symbol for the land. It supports us in our journey but we needn't touch the ground.

We firmly encourage visiting the galleries to see these exhibitions in 'the flesh'. The real experience can only be more enjoyable then the virtual visit. Meanwhile those of us stuck in the city are thankful for the opportunity to view these fine works of art.