Many people believe the art object isn't as important as the statement it makes. Those who hold this philosophy say the profound idea imbued in the art is what makes the object valid, not the skill or talent needed to manipulate the medium through which the message is delivered. In many instances one has to agree with this concept. But if the message can't get through because the letter got wet, the camera ran out of film or the cell phone went through a bad transmitting zone, what then?

There is no doubt Lamb has something valid to say about how the separate public and private sectors of our lives intersect at certain times, in designated places, for specific reasons. And how this convergence effects our sense of identity for the moment or forever after. However these interesting ideas come across better in the written catalogue then through the painted images. A case of visual communication breakdown.

'Identity' references our behavioural patterns when living in a city, occupying a crowed space or participating in a wedding as being proscribed by the rituals of society. An excellent topic for commentary but Lamb's message becomes garbled in her paintings. She doesn't ask us to identify or question these social constructs nor does she present them with a prejudice that could inspire debate. On the whole her images are dull with occasional unrelated splashes of acidic yellow or orange that repel rather then attract. Some works offer interest in their painterly texture and confident brush marks, too many of which are just a little too spontaneous. Other images look as if the artist lost interest but felt duty bound to finish the painting. As a result I found no invitation to address her dialogue. One positive note is how the artist is able to freeze the viewer out of her work by having all faces either unfinished or staring into space.

Viewing this exhibition is like entering a crowed lift or passing a private party - no comment, no eye contact. So I reacted accordingly, when I got to the first floor I left.

Over the road a variety of comments are being made in well presented works of visual art. 'Beyond Ritual' offers a collection of serious, fun, contemplative and political concepts for the viewer to deal with then and there, or take on board for discussion during the drive home. The point is the objects are not devised to obscure the issue, they are made with care to clarify an idea.

Jaeger's ceramic sculptures of suburban water nymphs communicate an appreciation of local beach rituals. The charm of these glorious gals with their imperfect figures can't hide the fact they are well composed forms that communicate a sense of freedom. These delightful dames are counter pointed by Poulton's tall, narrow, pinched faced ceramic figures in floor length garments. These haughty, androgynous figures speak of how the pomposity of ritual is there only to benefit the performer not the initiate.

Jeffrey also uses the human form to communicate ideas. He employs bronze to articulate static intervals and fluid movements of the ongoing process of the inner journey. Narrative is discarded to allow the viewer to translate shapes and symbols according to their own rituals.

Hay looks at the paper chase, so much a ritualistic practice in our everyday lives. The rough edges of Merge has us considering how the ideals of politics and/or religion can get lost in the written word. Meanwhile the beautiful and haunting Journey, a ritualistic canoe carved from stacked pages, reminds us that it is the progress of communication, not it's processing, that is important.

Dyer and Scambler offer for the most part urns. Dyer's series Relic hints at primitive rituals and their necessary paraphernalia. Her white ash hues as well as the terra cotta colours remind us of the source of the product, earth and fire. These are much preferred to the colour glazed work. Scambler's Sunrise, a wood fired stoneware bowl, is a perfect compilation of rawness (material and method) and elegance (form and colour). But I particularly appreciate the perfect imperfection of Bowl for tea and how communicates the humble aspects of the tea ritual.

Visual art should always communicate more through the object then the written statement. Otherwise it's literature.