This is Debra Jurss' second solo show at Form Studio and Gallery. Her previous show, almost exactly 12 months ago, was characterised by a controlled palette of blues and whites that spoke powerfully of the Antarctic continent that was her subject and that she continues in her latest exhibition along with explorations of Australian river locales.

The Antarctic landscapes feature both in wall-based and plinth-based pieces. The former are simple rectangular glass panels minimally framed with what amounts to a simple white edge/line. These are barely present but reinforce the idea of the hidden topographies of the Antarctic in the manner in which they simultaneously stop the strong lateral thrust of the gestural flows of blue and white bands that constitute the layered surfaces while imparting a sense of the compressed energies that lay beyond the terrestrial surface. They also speak to the "Flow Interrupted" of the exhibition's title. As in her previous exhibition, the elision of surface and form is beautifully balanced and conveys something of the power and attraction of the landscapes depicted. Jurss' understanding of place is clearly conveyed here.

The pictorial or even "painterly" language of the above is moved to the sculptural in the plinth-based works. These make literal the topographic implications of the wall works. Mountains, ridges and other landforms are given the jagged edges and uneven organic rhythms of their real sources. The jagged edges cut into the space around the works and imbue each piece with intimations of the unruly and uncontrollable powers of the natural world as evinced in Antarctica. The flow of movement, so contained in the wall pieces is now given "free" rein, a "freedom" nevertheless contained by the artist's controlling eye, and always neatly directed back into the work to further evoke the powerful beauty of the Antarctic world.

Jurss' fluvial works show her adopting the browns and greens of the Australian palette. She uses similar techniques to those used in the above works to capture the fragile harshness of the constantly changing river landscapes where the trials of the natural world are often tested. As in the Antarctic plinth-based works, the artist's layered structures are reinforced by the pictorial layering within the glass slabs. The artist's astute combination of stasis and kinesis is very effective in capturing the dynamic continuum of nature and the contemplative stillness of art. The combination of the pictorial and the sculptural is particularly effective and encapsulates both places depicted and the depth of the artist's attraction to and understanding of place.

The last time I reviewed Jurss' work, I cautioned on the possibility of repetition, a flaw she only just avoided. I raise that again but with the inclusion of the plinth-based works she has counteracted that possibility in very positive ways. I would, though, note that the open plinths carry the risk of being visually intrusive. The negative space they enclose is a very strong presence and might be avoided if they stood on slender legs rather than the rectangular boards they currently do. Also, while the simple metal frames work very well when frontally viewed, they are an obstruction if looked at from the side and need to be refined if they are to remain.

Small (curatorial) misgivings aside, Flow Interrupted remains for me an eloquent iteration, beautifully conceived and executed.