Art seen

<i>Marion,</i> by Flynn Morris-Clarke

The new Brick Brothers Gallery is perched at the top of a flight of stairs in Dowling St, but the exertion to get to it is worth the effort. Run by father and son Scott Clarke and Flynn Morris-Clarke, the space is intended as a transition for new artists venturing into the world of formal exhibitions. The gallery's inaugural exhibition is from Morris-Clarke, and features a range of oil portraits, studies from frozen film moments.

Most of the images are taken from scenes in which the characters are caught in uncertainty or distress, and thus focus on expressions of anxiety and fear. The double or even triple remove from reality is noted, as we see painted representations of acted instances of scripted fear, yet we are drawn to these images as if they are vital moments in the lives of the protagonists. The sense of remove from reality is heightened in the few monochrome images depicting black-and-white films. The images are broadly painted, using strong, confident strokes and effectively capture the emotion and circumstance of each scene.

As a working studio space, a fascinating touch is the ability to see half-completed works in progress alongside the finished paintings, allowing the viewer an opportunity to see the artist's methods while admiring their work.

<i>Allans Beach with oystercatchers</i>, by Pauline Bellamy

Two generations are also at work at Bellamys Gallery. In ''Wildlife'', Pauline Bellamy and Manu Berry present an exhibition predominantly featuring Otago Peninsula bird life.

Bellamy's work is in two distinct groups. The majority are mixed media pieces, painted in acrylic over muted printed backgrounds composed of a series of coloured strokes created via an empty silk screen mesh. The resulting images have a gentle, watery backdrop that is perfect for the artist's depictions of gulls and herons. The remaining works, a group of monochrome drypoint etchings, do not suffer by comparison, as they are strong, well-rendered works which capture mood and place very nicely.

Son Berry's woodcuts also contain a number of images of bird life, all in the artist's characteristic tall, thin format. The works are uniformly fine, again effectively distilling the essence of the moment. A nearby work in the same style is of a dog, Reubs, and Berry's skill is well shown in the depiction of the dog's wind-tossed fur. Alongside these pieces sit a series of works for which the title ''wildlife'' is more tongue-in-cheek - a delightful series of images of Berry's child Eulalie eating. The spirit of the youngster and the joy of her artist father are clear to see in this lovely series of woodcuts.

<i>The Green Man</i>, by Tony Williams

Tony Williams is displaying several new items in his Moral Pl jewellery studio/gallery.

Among the new works on display are an impressive range of 18 carat gold rings, one of the stars of which is a strong Ceylon sapphire flanked by diamonds. Alongside it sits another fine piece, a cabochon ruby set within a black enamel design that is reminiscent of both Celtic and Maori traditional styles. This latter ring beautifully complements a nearby pair of ornate ruby, gold, and enamel ear studs.

The star of the display, without doubt, is The Green Man. Drawing inspiration from pre-Christian European religion, the master craftsman has created a stunning necklace. The titular character, in enamelled gold, stands beneath a golden archway decorated with fine leaves and a single tourmaline, the whole strung from a many-stranded tourmaline-beaded chain. Celtic designs also infuse several other new pieces, including a charming pair of enamelled knotwork tourmaline and diamond earrings.

Humour is not missing from the exhibition, notably in Drinking like a fish under the table, a delightful silver brooch depicting a rather morose-looking fish. The piece is embellished with a line of Mexican water opals as bubbles emerging from the fish's mouth, and a single fire opal for its eye. The work is warm and the design is immensely attractive.