We have to recognize that visual artists work through different processes and personal dialogues in order to produce a work of art that communicates a mood or concept to the wider public. This is understood and appreciated by most followers of the visual art scene, indeed it advises the way we 'look' at works of visual art so we can engage with them. However, when the personal dialogues are at best idle mutterings, or worse kept secret, and when the processes reflect little imagination or competence, then visual art is vacuous. Welcome to an empty room full of stuff and two works of art.

One art work is Dawn Gamblen's Sorted where the contents of a package of alphabet noodles is presented in a precise pattern that emulates a cityscape against a pink sky. It suggests a meditative process, the calm mind and steady hand, not unlike that needed to produce a sand painting. The other art work is Simon Gilby's Strange Beast. This well constructed hybrid creature has four harlequin patterned human legs, two reaching arms, wings, and sprouts thorns. It will be interpreted differently by each viewer according to his or her own dreams. Each work in its own way is highly engaging.

At least one of Johathon Campbell's paintings is mildly lyrical and Sara Jane Pell offers the detritus of a performance that proves somewhere, sometime, something of interest happened. However, who knows what the other practitioners are trying to say, and who cares. Most pose only one question; Wha..? and it can't be answered.

Phil Gamblen's installation is cute but mute while Ruth Parker is trapped in a passé cliché that is not worth discussing. Paul Uhlmann's painting is too heavy, Helen Smith's works too light weight. Nien Schwarz's paintings are bland and Lesley Munro's are boring. At least when you ask Wha..? of Lucy O'Dea's work, you'll find the answer is the title. One validates the other in a self indulgent manner. And the title of Minaxi May's digital print provides its own criticism. Unfortunately there is no validation for, nor answer to, the question when it comes to Juliet Lea's collection of cinnamon donuts and brass horn in a rusty bird cage. As for the double self-portrait, at least that's what we suppose it is, by Debra Gurney and Paul Hinchliffe, it reveals nothing about their philosophies or physiognomies.

Considering all the stuff on display here, one can only assume Perdita Phillips understands what this is all about. Her chairs, precariously perched upon high pointed plinths, all hidden under a blanket, illustrates and expresses the situation of most of these practitioners.

Upstairs the collection of  large, colourful and well presented abstract paintings offer visual relief and mental stimulation. You can get lost in Dragica Milunovic's Symphony in Blue, appreciate the heat and power trapped in Jane McKay's Grass Tree Fire, dance with the wonder of life found in Coral Reef, Ningaloo Marine Park, Gascoyne Region by David Giles and engage with the imagery found in Deborah Savage's Mine Site II. Thanks for reassuring us that there are still some artists around who can communicate via their work.