The title of this exhibition should give you a hint that what you are about to see is believable. The artist advises we be prepared to step through Alice's looking glass, discard what we think we know, and accept what is before our eyes. With this exhibition, the artist plays with perspective and perception in her constructions, paintings and digital images so if you insist on analysing her work according to the rules of physics, you'll never believe a pair of scissors can balance on one point. Here they can, and as gracefully as any ballerina.

You have to marvel at Angela McHarrie's small, constructed 'scenarios', composed of tiny wooden chairs, tables, ladders and balls then painted in bright primary colours. They stand so steadily the viewer may be forgiven for assuming they are glued together, but they are not fixed. Each may be re-arranged at will but I doubt the re-arranger could accomplish the same sense of believable 'off kilter' balance. I didn't want to try, it's more satisfying to just stand there and enjoy each composition as it is. The same can be said in reference to the life-size installations, again employing ladder or chair and coloured balls.

McHarrie's excellent large paintings are copies of the smaller constructions and/or a section of a life-size installation. These oil on board images depict their subjects in larger then life-size hard edged realism, with shadows that reinforce their sense of volume in space. At first they seem like hyper-realistic paintings until we notice that something, somewhere is subtly askew. The artist has deliberately altered correct perspective in a few paintings, to tantalize the viewer. I particularly like Three Chairs and a Pencil, which looks perfect at first glance. Here we see how a large blue pencil acts as a prop that prevents a stack of one red, one blue and one yellow chair from falling over. Then, on close inspection we notice how the bottom yellow chair is minus a leg, and the top red chair seems to be twisting in out of perspective, perhaps about to fall. Perhaps the artist is just reminding us that reality can sometimes be both off kilter and correct at the same time. It's a logic the Cheshire Cat would certainly understand.

Then, when you're sure you've found your way, there is the encounter with a collection of small digital prints on aluminium showing other unique sculptural efforts by McHarrie. Somehow, 3 giant clothes pegs, or an oversized pear resting on a small table seems more believable in these exhibits, perhaps because our minds are accustomed to processing the fact that manipulating a digital image is accepted a variety of artforms. However, I'm told these prints record actual structures composed by the artist. Of the digital efforts, I particularly appreciate the collection of three images in the series cognitive processes in the dimensional interpretation of a figure. They show a figure drawn and painted around the corner of a cube.

McHarrie not only exhibits well conceived and composed objects, images and paintings, she exposes a creative mind and excellent skills. To find these attributes in art and artists these days is what makes venturing out to the gallery well worth the effort. An excellent exhibition!