Charlie's is on again, the Sir Charles Gairdner Hospital Acquisitive Art Exhibition that is. It's the 24th outing of this event and it certainly has matured over time. In years gone by it was an open event with emerging artists sharing the same criteria and venue as the established, now it's invitation only. Altering the playing field has its rewards along with its drawbacks. We're assured a good display of art produced by some of the best in town but we've lost the broad range of exhibits and a chance to purchase a work by a raising star while still affordable.

Although this show offers mostly abstract works, the First Prize goes to Brian McKay for his dark pictorial image Night Flower etched in aluminium. Joss Gregson also makes a floral offering with her classic Still Life #45 in heavy black and white. But the only drawing of flowers that sings is the black and white screen print on board Filtered Visions lll by Susanna Castelden. One supposes that's due to the swarm of grey headed map pins that seems to float over the wispy subject like grateful pollinators.

Along with these linear offerings we find pictorial and non-figurative works composed of coloured dots. Philip Ward-Dickson's Suburban Dialogue - Wembley  Kookaburra  has the noisy birds emerging from a multitude of small round dots of colour. Lisa Wolfgramm also employs small daubs of colour. Her Painting #133 appears at first to be a composition in white however, on closer inspection, it proves to be multiple layers of various gentle hues. This is a meditative composition. A sense of peace and contemplation is also evoked by Janis Nedela's WRASSE #3. Here white dots cover a surface of horizontal bands in modulated warm greys, mottled black and teal to create an intriguing illusion. This exhibit was acquired by the hospital; good choice.

Illusions of space and depth perception are also presented. Ron Nyisztor's Civilization offers coloured boxes and timber beams that seem to float into and above the picture plane in a very convincing manner. And Jeremy Kirwan-Ward has us believing his acrylic on canvas Surface Writing: Green Swell is really vertical strips of undulating metal or ripples of satin ribbon. Only Caspar Fairhall combines the real along with the illusion of three dimensions with his mathematically precise black, orange and green construction Five Ten Fiftyfold.

There's plenty more to see and enjoy in this fine presentation. Charlie's is always a winner.