These three displays differ in material, artform and content yet they share a distinct commonality. Each exhibition reveals how the artist approaches his and her practice with honesty, solid skills and respect for their subject. The black and white prints, colourful paintings and detritus from the sea presented here make for fascinating viewing.

The Hall and Main Galleries are hung with large silver gelatin prints by Omichi. It's fair to say rural Mukinbudin is a far cry from urban Tokyo but instead of concentrating on the landscape, this photographer points his lens at the people, the farmers who work the land. There's not one moisturized, manicured 'metrosexual' to found in this collection of blokes from the bush. Omichi's  large black and white images reveal the faces of reality; young and old, confident and comfortable in their weathered skin, torn T shirts and stained boots. Some suggest the dry sense of humour often associated with the stoic farmer, others reveal the arrogance needed to survive, while a few show that touch of weariness around the eyes born of years of hard yakka. All the works reveal a shared respect between the artist and his subject, even when a certain distance between them is maintained. There are more works on the theme which are accessible in the artist's book Farmer which is available for purchase.

In Gallery 3 Morrison's paintings also speak of those who inhabit the land. Not so much the people as the spirits, those entities who guard the land throughout the generations. These are large and powerful images, rich in colour and imagery. There is the  fiery red Mother Earth Nunngan giving birth to warm brown land. She is seen again together with the blue and yellow scaled Mamman (sacred father wagle) signifying life flourishing. Other works present sacred totem animals drawn with colourful broad lines. Pingarins has a green and red patterned line defining the moaning frog, who sits in a rock strewn pool. Cool water hues draw Winjwells, playful dugongs who ignore the pale line drawing of a sailing ship on the high horizon. And fire colours paint Dammalan the yellow banded parrot who gives consent for the ceremony to proceed. There is more then just surface beauty in these paintings, there is the reminder of the beauty to be found in a belief system surviving.

Survival of a different sort is seen upstairs in the Kathleen O'Connor Gallery where Tasma displays unique sculptural pieces formed from bright natural and man-made elements found on the shoreline. Her baskets and bowls and decorative concoctions incorporate ocean worn pieces of shell, coral, weed, wood and rope to provide a treasure trove of colour and tactile interest. Fishing line and fibres are woven to form Sea Nest then decorated with coral and shell. On the floor sits a rope woven urn large enough to hide a pirate while on the shelf stands a Sea Tulip sculpted from water bleached pink nylon string bags and grey driftwood. Bringing together these disparate elements with imagination, and eye for function and the concern for the environment gives a distinctive voice to these works. But what really starts the visitor's contemplation of the subject of these well crafted exhibits suggest, is the slight smell of the salt sea air that fills gallery.

Highly satisfying viewing all around. Each exhibition gives us something to think about long after we leave the gallery.