The infinite variety on display at this exhibition is nothing short of a banquet for the eyes. Here, artistic freedom speaks louder than the pressure to produce a ‘complete’ work. Following from this freedom, the artistic influences upon individuals are clear. The work of Justine Hedley resembles Georgia O’Keeffe’s synthesised abstraction; Hedley presents crisp contours replete with subtle tonal transitions. Reminiscent of Andy Warhol, Alyssa Flegg has produced a repetitive print, with earthy greys and greens replacing Warhol's colourful pop palette.
A highlight is the work of Margaret Smolenska. Her wooden canvases hang in harmony: one rectangle and two squares. The muted colours cast heavenly connotations, whilst the skillful application of paint is controlled to create varying textures.
Although not distracting from the excellent standard of work, there is a slight impracticality in the layout of the show. While most works adorn the walls of the central space, two deceiving corridors lead from it. Guided by masking-tape arrows, the doors are locked – denying access to the other artists exhibiting. These ‘wings’ of the exhibition physically detach the works they contain, separating them from the main exhibition space.
It is clear that the art students exhibited here are encouraged to explore; creating a process that invites experimentation with open arms. Each artist’s work is different from the next and this variation makes the exhibit fresh and exciting whilst demonstrating the immense versatility of the mediums of painting and photography.