Betty Nolan’s work allows the materials of art to speak for themselves. Watercolours that bleed into creamy paper, oils that float in layers of transparent pigment and ink that splashes. Deceptively relaxed, the techniques grow from experimentation and her studio floor is untidy with discarded ink sketches and quick gestural studies. All this rehearsal is leading to the depiction of the moment. The sublime moment on Strahan’s Ocean Beach where the shiny ovoid stones seem to float like a Larry Poon's painting or when the giant kelp has the glistening presence of an alien in a science fiction film.