Always eagerly awaited and always different, this year's survey like those of the past, has its own identity. Over the years we've witnessed the gallery and grounds overflowing with disparate works and times when all exhibits were unified by a theme. Some years had established, emerging, invited and student artists presenting their work separately while others displayed works of new and renown artists side by side. 

This year the gallery has a sense of sparseness as the array of paintings usually displayed to enhance the sculptural work have been omitted. This allows us to engage with the 3D work minus colourful distractions. For example the front room is empty except for Parcours, a bronze and wood installation by Prof. Lujo Vodopivec from Slovenija. Another exhibit might not have been able to 'fill' the room but Vodopivec's certainly does. The shape and surface of the bronze horse invites touch as the whole scenario sets up a dialogue; will the sturdy little equine run the course? Perhaps if he can't get over the hurdles he'll employ lateral thinking (the wheels on his plinth) and get around them.

The Journey #5, an installation of carved wood by Indonesian artist Anusapati, sits in one end of the second room with nothing else to detract us from engaging with its presentation. Here half a canoe sits on timber shards like broken dreams on an inhospitable shore. Meanwhile another level of contemplation is exacerbated by news of desperate 'boat people' attempting to reach our shores. At the other end of this room Edmund Stewart's fine series of towers stand precariously but determined to invite different interpretations, real and imaginary.

The Victorian contingent presents a collection of concoctions that offer little scope for narrative or discussion. Mute exhibits by Carlisle, Eames, McCaughey and Taylor display only their ability to overcome boredom by virtue of completing them. Boucher and Hewitt make hanging exhibits that are light weights in visual and mental stimulation while Marshall and Paulusz offer works of dead weight. Only Louise Harper's Fisher of Men invites inspection but it doesn't hold our attention while the aluminium Artificial Bloomer by Julie Collins is a delicate rendition of some species of flora that seems to open and wilt before our eyes.

I confess to not lingering long among the outside student exhibits strewn around the grounds. Some are difficult to locate and many not worth the effort of finding. These student works should be seen as being more important for the experience of doing then for the finished exhibit. However, the fine row of large 'paper' planes by Peter Zappa from Curtin University did hold my attention from a variety of viewing angles so it earns top marks in my book.

Don't miss this annual sculptural survey as I'm sure you'll find plenty to appreciate, especially the Gomboc Gallery's dedication to the artform in all manner of practice.