Review, The Mercury, Lorraine Hepburn, 1991 Recent Works on paper by Cynthia Breusch; glass by Garry Nash Despard Street Gallery Hobart. Until August 27

Seduced by singing colours and glowing glass

WHAT a warming luminous exhibition to walk into from a dark and wet wind-lashed street. The gallery was so inviting and glowing, and the Nash glass looked as if it could lift off the plinths to join the paintings on the wall.

I responded to the singing colour initially, drawn by its sheer lusciousness, with closer contact revealing much more.

While painter Cynthia Breusch acknowledges the influence of the stylised visual vocabularies of Dickerson, Blackman and Matisse, whose work she admires, the

language she uses is very much her own. Breusch uses music and its symbols as a metaphor for memories, which she sees as a kind of music in the mind.

Her paintings convey a sense off stillness and wistfulness about the unpredictable turns of life, as well as a celebration of coming to terms with  them.

These mysteries are expressed in a richness and depth of colour that infuses each piece.