Whenever we go to a well curated exhibition (in this instance by Bridget Sullivan) of diverse works by a number of artists, it is always advisable to read the accompanying catalogue.  This official document tells us the purpose of the exhibition by explaining the theory or unifying theme of the project, what brought the artists together in the first place and how we are to interpret the disparate exhibits at the end.  There are times when catalogues are very helpful in understanding the display and, thankfully, there are times when the exhibits communicate sufficiently to the viewer, so translation is unnecessary.

Time & Tide is an example of an exhibition we can approach, ignorant of its purpose, and just enjoy the elements of the display for what they are, fine works of craft/art.  The exhibits are placed far enough apart so we can appreciate each as an individual element.  This is important as the works are intriguing yet very different.  After enjoying the exhibits through my own reading, I viewed them again with catalogue in hand and found yet another level of satisfaction.

Dowry Box by Lin Li caught my imagination immediately.  Here a collection of beautifully embroidered inner-soles step out of a box and travel across the wall.  They speak of the unknown women who made the components of this installation as walking in beauty.  The brightly coloured flowers, patterns and images decorating these soles (souls?) are traditional symbols for happiness, harmony and good fortune.

Recollections by Pilar Rajas keeps safe the rich tradition of women's craft in 25 hand-made small, white containers set in 5 neat rows on a plain white table.  Delicate yet strong, each intricate component is a celebration of simplicity and elegance. Together they hold the imagination like a half remembered dream, though incomprehensible, somehow does makes sense.

Imaginative, mildly incomprehensible but very elegant is the series of small sculptural objects Invisible Places to Be by Catherine Truman.  Made of lime wood and referencing the human body, in context rather than imagery, these three elements suggest concepts of interdependence, fluidity and strength.

Elegant and somehow exotic are the neckpieces by Rowan Gough.  Mother-of-pearl buttons and circlets of oyster shell are combined with silver to produce body wear that is seamless and timeless.  The irregularities of the buttons made from natural materials from the sea remind us that modern plastic uniformity may be convenient, but boring.

Hardly elegant but equally exotic are the constructions by Gay Hawks.  Cast-offs and junk from land and sea are redeployed to become a dedicated beach-comber's chair and an imaginative child's tower, to keep watch for pirate's ships, of course.  Although the catalogue validates these structures with academic rhetoric, some viewers will call them corny others kitsch while those with less pseudo-sophistication and more honest spontaneity will see them as delightful and fun.

The exhibits evoke various responses in different viewers and that's what makes for a successful exhibition.  Do see it and if you need to be guided in the 'correct' interpretation, purchase the catalogue, otherwise just engage with and enjoy the fine exhibits.