You would think that after twenty-two years of attending this annual event it wouldn't hurt to miss it, just once. Well you'd be wrong! As always, this year's outing offers a variety of exhibits to provide food for thought, a feast for the eye and a certain sense of wonderment. The invited professional artists include Angus Andameitis of New South Wales and Western Australia's own Nien Schwarz and Lou Lambert. Meanwhile 39 students from three tertiary institutions ~ Curtin University, Edith Cowan University and Swan TAFE (Midland) ~ provide the outdoor component.

In the gallery Adameitis manipulates painted steel into works that appear to be 'melted' renditions of a previously rigid subject. For example, Moon Creek Mountain offers a collection of rods, geometric and organic shapes that may have originally suggested a 'landscape'. But the mountain has folded and the moon has fallen into the creek while the rods hold it all together like structural lines in a drawing. It is mildly disconcerting yet totally compelling as the internal dynamic and soft edges of the composition produce a certain sense of gentle morphing.

Lambert too references landscape, and those who try to survive within it. He works smoothed Jarrah burls and branches, various metals and cement into complex floor sculptures that nurture the hope of survival. Both Billa Billa and Orroroo present a well hidden nest woven from metal rods, each containing an egg. These works provide interest from every point of view, however sitting on the floor next to either one is the best position for accessing and interacting with the exhibit.

Schwarz reveals how many see the landscape only as a commodity to be itemized, bought and sold. Geological maps are folded into shopping bags that carry different concepts, or are cut into strips and woven into wall hangings. Geophysical core samples are cut and arranged evenly in rows on shelves, like the shopping bags. There must be an ample supply of land to 'give away' and, as befitting any 'clearance' sale, we're told there's more available for purchase should these sell out. These finely presented 'artifacts' are of gentle hues and potent comment.

The student component of the survey is always the most exciting part of the exhibition. First there is the treasure hunt feel of walking around the grounds and discovering the exhibits in situ, then the joy (or occasional disappointment) of the find. The trek starts in the gallery with a work by Sumi Shirai (ECU). Her 1001 is a circular 'curtain' of 1000 small white, and 1 pink, origami cranes equally spaced along threads suspended from the ceiling. Entering the space and standing in the circle of paper birds provides a sense of peace and well-being, as the crane is the symbol of longevity.

Outside we find works that reveal both extremes of the contemporary student artist. Exhibits range from creative concepts to inane ideas that are constructed with solid skills or presented poorly but that's what makes the survey interesting. I greatly appreciate how some students pay heed to where they place their exhibits.  For example Janine G. Stewart (ECU) found an ideal hole in the ground from which the white ants of her The Invaders emerge and head toward the black picnic setting. The installation not only displays the obvious it makes a powerful political comment, in black and white! Denise Pepper and Janet Carter (ECU) select the proper site to combine thier exhibits, Yellow Cake Land and A Stone's Throw From Here, into one composition that also makes a potent statement. On a broad flat field we see a child's backyard play area, complete with glass house and yellow sand pit (Carter's effort). It provides the central circle of the universal symbol for 'radio-active' which is created by placing separate yellow circles in a composition that forms three arms radiating outward (Pepper's effort).

Rachel Wyder (TAFE) also employed the right bush cluttered setting to present her wonderful, whimsical, installation Arthropoda. Here we find a collection of intriguing and inventive insects constructed of twigs, nuts, leaves, faux fur, feathers and other discarded 'stuff'. Great idea and execution of an excellent artwork. And as much as I appreciate the work Genesis Gutierrez's (Curtin) put into constructing his ceramic mother goddess Hathor, the regal exhibit would have had more impact if placed in a site befitting the subject.

There are many more works that will appeal or repel according to concept or construction. Do have a walk around and find what you like, where ever it may be. You'll also enjoy revisiting efforts from previous student surveys which have stood the test of time.