There is something rather surreal about this exhibition. It has to do with how Judith Forrest's well crafted paintings and sculptures can be interpreted in a humourous light or with a subtly sinister inflection. It also has to do with putting ourselves in the picture. But no matter how you engage with her works, they all make fine viewing.

Forrest's paintings are suggestive of snapshots taken in museums. Most are straight forward subjects of visitors peering into display cases, which lulls us into a confident sense of knowing exactly where we are and what we're looking at. But as we investigate some images we begin to wonder if we're the observed instead of the observer. For example, Stuff the Family Tree offers a collection of small apes and monkeys perched on shelves in a glass case. The title has us assuming the mammals are taxidermic examples of different species. Standing in front of the painting we look through the display case to a lady busy fixing a label to the glass on the other side. Suddenly we realize nothing in the painting defines just which side of the glass we're on. Is the viewer on the outside looking in and through to the other side of the glass case, or are we one of the specimens in need of a label? Sea Birds is another example of spatial ambiguity within the painting reaching out to engulf the viewer in a visual labyrinth. The concept would not have worked if the artist was less able to offer realistic representations of her subjects.

Sculptural works in painted plaster and bronze also provide comments that range from comical through curious to apprehensive. Of the painted plaster category, a camel strolling through the eye of a needle in The Gates of Heaven evokes a smile while Role Play, where a girl in a rabbit mask stands next to a wolf headed old lady, may awaken anxious memories of the fantasy. Then the unique state bronze Half Time Break, which depicts two occupants in a horse suit sitting and chatting, human head to horse head, is a delight. Meanwhile Magpie Attach is a reminder of some fearful walks to school. But as Forrest's craftsmanship is well honed each exhibit is highly satisfying viewing.

This is a intriguing exhibition, one where the images stay with you after leaving the gallery. Forrest's illustrative images allow us to make our own stories to fit the work, which is a generous gift from an artist.