In its seventeenth year, this annual sculpture show continues to be an important event for those who appreciate the artform. Although the survey, as an exhibition, has changed over the years (the 'open' section is gone) it holds fast to its core purpose, which is to provide a showcase of work by established, emerging and student artists.

The invited artists must have been selected to offer a diversity of styles as the exhibits range from formal to funky. Leith Jansen's contributions opposite the entrance are excellent examples of the former while Laurise Lorne's works in the back gallery exemplify the latter with perfected skill. Between these two extremes you'll find Jon Denaro's thought provoking work Underneath and In Between, which inspires ideas of wind gusts through long grass, water currents through sea weed or thoughts on the environment rushing through an open mind. Then there's Tim MacFarlane Reid's enigmatic Terrasador, a relatively small four-sided monolith inlaid with symbolic designs that suggest a connection with some ancient potent. Meanwhile in the front garden area, Lawrence Dolman's Arena can be interpreted as either a large scale game board or a venue for lively debate.

A tour around the grounds behind the gallery is a must if you want to experience the total survey, there's a map to follow and new works are well sign posted. What makes the walk enjoyable is noting how the newest exhibits share the same paddock as previous years' presentations, in various states of decomposition, and the more permanent works by Jon Tarry, Peter Dailey, Tony Jones and Ron Gomboc, among other noted artists. This fact makes the trek seem like a journey through time.

The brief for participating second and third year tertiary art school students calls for site specific works and surprisingly most are individual rather than collaborative efforts. In his foreword to the catalogue, Dr David Bromfield advises "Visitors should keep their heads well down to avoid low flying concepts". I would only add that when walking around this section, helmets aren't necessary, if you should get hit by a concept it will have minor impact.

As with all student exhibitions this one has its share of immature attempts at visual puns, uninspired imitations of established artist's work and the cop-out construction where only the title is interesting. There is the occasional touch of creativity and skill as two or three exhibits remain in the mind after leaving the field. One is H2O, Curtin University third year student Dorota Pudelek's clear plastic bubbles planted in the ground to collect condensation, another is Every Now and Then by second year WASAAD student Debra Gurney who balances an iron hoop at one end of a thin red path running to (or from) a nest of rust coloured soil.

The only exhibit that takes into consideration the actual site and works with it to make a valid comment is Mindless Bending by Tracy Burke of Midland TAFE. This construction conjures up concepts of humanity twisting nature to suit its own purpose with no thought of what it's doing to the planet. On a bald embankment of earth, pushed up by a grader, Burke fashions a large needle and yellow 'stitches' in an effort to mend the torn ground. Her work has all the components needed to make successful site specific public art - it is thoughtfully conceived, skilfully constructed, integrates with the site, makes a potent statement, is a comprehensive visual stimuli, and has a timeless relevance. It is proof that art doesn't have to be ugly or confrontational to communicate intelligent ideas.

As this annual sculpture survey evolves, continued congratulations and thanks must go to Gomboc Gallery for initiating and maintaining this vital aspect of a vibrant art scene.