Drawing on cinematographic traditions, Garry Currin’s paintings suggest sepia-toned photographs or frames from faded 8 mm film. Each small panel reveals a self-contained world where individual stories overlap and time and place are fluid. Currin directs the framing and focus of each ‘shot’, revealing only parts of the over-arching narrative structure.

The individual paintings are small, intense works. They glow within their painted frames and Currin uses bright points of light as visual signposts that draw the eye into and across the surface of the panels. Using a limited palette, he layers tone upon tone which creates a rich depth of hue, all the more striking for the clean lines of the wide borders. More figurative than earlier bodies of work, Currin has populated the stories with people and places that are almost recognisable; they appear as half-forgotten memories which have warped and changed over time.

Accompanying the ‘storyboards’ is a single large work on canvas which showcases Currin’s skill with his medium. From a raised point of view, the viewer looks down onto a shifting landscape that is touched with light. Dominating the foreground are shadowed plains and a solid sweep of hillside; Currin captures simultaneously the solidity of the landscape, and its mutability. The soft ridges of ploughed paddocks draw the eye to the expansive curve of a bay, edged by distant hills.

The exhibition title, Hints for the Incomplete Traveller, encapsulates the experience of Garry Currin’s paintings. The works are suggestive rather than explanatory; Currin tells part of the story but leaves viewers time and space to extend and complete the narrative as it suits them.