This exhibition involves only ten exhibits, eight oil on linen paintings and two charcoal on paper sketches, yet it proves the old adage less is more when it comes to good art. McMonagle's figures are drawn simply and realistically while the grounds are texturally intriguing. The artist offers sufficient imagery to suggest a scenario and/or mood, then leaves enough space on his large canvases to invite the viewer into the work and find their own narrative.

For example Kirstin, the image on the invitation that got me up and out to see this man's show, creates a mood of relaxed contentment. Against a rich dark ground of horizontal brush strokes, the pale figure of a lovely lady relaxes in a string hammock. We're not sure if she's eating spaghetti or weaving the hammock that holds her; if she's under the back veranda or out in the bush. The narrative is ours to weave but it soon becomes unimportant as we relate to the beautifully drawn contour lines that define the figure and the sense of volume created with a minimal wash of pale hues. I particularly like how the flesh of the figure is 'plumped' into diamond patterns by the strings of the hammock.

Suggested narratives invite us into the studio in Plaza II. Here the artist sets the scene then allows the viewer to write the story. 'She' is in the foreground, concentrating on turning the lower section of an enormous striped urn on the potter's wheel. 'He' is in the background attending to the finishing touches on a small pot. Neither notes how the top section of the large urn is teetering dangerously off centre. The construction of this image seems simple - lines are drawn with a brush, washes of hue seem to go where they will, areas of 'empty' space leaving room to think - is much appreciated as it allows the viewer to complete the image and write the story as they choose. At first I read the white space on the canvas as relating to the silence between two busy workers then, on a second viewing, the space was filled with the creative connections between two artists. The former interpretation hints at the urn collapsing while the latter translation has one of the artists looking up in time to save the work. I'm sure McMonagle had something else in mind while developing the image but then, he did leave room for my imagination to carry me into the work while appreciating his exellent treatment of the surface.

I found Untitled (after Vuillard) the most fascinating of all the exhibits. Perhaps it's the gentle pink wash and well defined contours of the nude, in contrast to the dark brushwork that defines her upswept hair. May be it's her pose, lying on her stomach  propped up on her elbows playing a paintbrush like a reed instrument. Or it could have been the appreciation of the white impasto background together with the collection of textural ambiguous 'stuff' that is reflected in the water of a pool. The painting captivates with its drawing, painting, mood and suggested narrative.

McMonagle manipulates line, spots, dribbles, bold brush work, invisible washes, excellent drawing and a finesse with colour to create a sense of artistic excitement. He also manipulates the void on large surfaces so it can be filled by the viewer's imagination. These few exhibits more then satisfy our appetite for good art.