October sees the gallery spaces filled with small and perfectly-formed artworks.  Paul Maysek’s ceramics are reminiscient of Eastern European Brutalist sculpture writ small and this Sputnik flavour is found too in Peter Trevelyan’s spiky constructions. The classic mid-century forms of John Parker’s vessels create elegant still-lifes with a focus on tone, volume, and surface texture. Israel Birch and Reuben Paterson have created shimmering works which are amplified by their reflective, refractive surfaces and seem to take up more space than allowed for by their physical volume.

The limited dimensions of the paintings on display encourage viewers to move near and engage initimately with the subject matter and the materiality of the artwork. The delicate details of Michael Hight’s hyper-realism and the social narratives of Jenna Packer and Lonnie Hutchinson are well-suited to being experienced at this human scale as are the subtle textures of Darryn George’s linear compositions. Combined with his sepia palette, the scale of Garry Currin’s oils reinforce his allusions to old photographs and film negatives. Likewise, the format of Dick Frizzell’s miniature prints mimic the cartoon strips he references.