There is something unique about this artist's work. Her exhibits are strong and silent and still, yet they command our attention with their ability to evoke both a sense of mystery and a feeling of security. There are no set narratives or specific individuals attributed to these drawings and sculptures, instead each provides the wherewithal for viewers to devise their own story.

Mary Knott's mixed media drawing depict small villages, like those found in Italy or some other Mediterranean country. Although non-specific and devoid of people, the scenes are not alien nor empty. Here and there we note the evidence of life; a bicycle leaning against a wall, the bows of gondolas emerging from canals, single masted boats anchored near the shore. The buildings are the colour of weathered stucco and wear terra cotta tiles on their roofs. They cluster together under blue skies or nestle near the sea.

The images hold a sense of anticipation, as if at any moment the inhabitants of the town will awaken from siesta and fill the streets with folk going about the hustle and bustle of everyday activities. In the meantime we are left alone to contemplate the peace and appreciate the stable compositions of harmonious hues.

Of all the drawings I found myself returning to one that depicted a church, complete with a tall bell tower, overlooking the sea. The building practically fills the picture plane, it is steady and true and the bell in the tower seems to be ringing. There is a small area between the structure and the edge of the image, it shows a dark blue sky and sea separated by a thin white horizon line. On the sea is a small white boat carrying a single figure. There is a powerful sense of the boatman being drawn to land, and his rescue, by the sound of the bell. This concept is exacerbated by the drawing's title, Soul Survivor.

Also much appreciated is Where the River Flows which appears to be the Ponte Veccio in Florence. But it can't be; in reality the Ponte is crowed and noisy whereas here the bridge is serene and unpopulated with a lone, empty boat floating along the 'River Arno'. It's easy to linger long in front of this exhibit.

Knott's boats are double pointed seed pod-like crafts that are often vacant in the drawings but when cast in bronze they hold figures. The small Gemini Journey shows two seated figures facing each other in a 'nut shell' boat. As with all the figures, they sit with arms hugging knees bent up close to the chest and heads bowed. This pose, and the lack of detail, suggests they are awakening.

Reflection takes the seated form out of the boat and onto the floor. Like her sisters (one assumes they are female only because of the hair cascading down the back) she sits with knees pulled up, so she can rest her forehead on them, and arms hugging the legs. It is up to the viewer to decide if she is trying to draw inward or if she is preparing to unfold.

Equally engaging is the life size standing figure Balance. Stripped of features and detail the figure stands with feet together, arms down with hands clasped together and head tilted to one side. This sculpture, like the drawings of nameless towns, has  the same sense of strength, quietude and peace.

These exhibits reveal a steady evolution of Mary Knott's unique imagery and style. She offers viewers a safe space in which we can dream, explore or hide. She then gives us permission to connect with the works in our own way, according to our own experiences. With all that, and excellent craftsmanship, what more can anyone ask.