When it comes to the visual arts, there is an ongoing debate between those who give high priority to having skills that allow artists to produce visually satisfying objects, and those who hold that the primary concept or socio-political statement or art historical reference as utmost importance. Thankfully Tarry can do it all. This artist produces work that is both visually stimulating and able to communicate on different levels so each viewer can appreciate the art object and an intellectual engagement with it.

The constructions exhibited here are interesting to view as the artist manipulates the surface quality and physical structure of each work with skill. Using marine plywood and working it into either convex or horizontally undulating surfaces, Tarry constructs impressive wall pieces that create illusions of space and place and encourage us to draw on our store of remembered experiences in life and art. While referencing the local landscape, he allows room for the viewer to search for meanings of mass and volume, of real space and illusionary depth, of perceptions and dimensions.

For example in Peripheral 2001 the surface is painted in tones of yellow, orange and brown with a thick dark horizontal band drawn just below centre. To the left and above the horizon, thin graphite lines radiate up and outward from a single vanishing point suggesting perhaps rays of a setting sun. Just right of centre below the horizon, colour is rubbed back to form a yellow elliptical shape like an eddy in the sea. However the simplicity of the lines reminds us of One Point Perspective and allude to recessional depth, which is at odds with the outward curve of the construction, and we note how the lighter section below the line balances the whole composition. Then we look closely at the surface and see how the colour has been applied to reveal the grain of the plywood. We may approach what we think is a 'seascape' but there is little reference to nature here. Instead we see the art object as complete in itself, we are able to fall into its intellectual and/or ethereal qualities.

Again in Reflexive Landscape 2000, where one side of the composition draws us in while the other radiates outward, ideas of landscape imagery and perception, spatial tension and sculptural structure play in the mind while we visually enjoy the object for its fine construction.

The physical dimension of Fol 2001 provides an intriguing experience. This large standing ambiguous form offers gracefully curves at one end while hard planes define its overall shape. We see how the black stain has been applied and allowed to drip in areas and search for meaning. We want to touch the work, with the same inquisitive hand that would run over the hide of an animal or the side of a ship. Is it a land creature with its young or a vast sea going vessel with its small tender along side?

This exhibition is sure to have a lasting impression; after seeing the ten exhibits on offer you'll be thinking about them long after leaving the venue.