Gilbert Riedelbauch, Avi Amesbury and Mel George are well known in Canberra for their high professional standing in teaching and arts administration. However, they are also widely recognised in their own right as practising artists and designers.

Mel George studied at the ANU School of Art in Canberra, graduating with a bachelor of arts with honours majoring in glass. She returned from living and working in the US in 2009 with her partner, glass artist Jeremy Lepisto. In 2013 they established a studio, Workshop Level in Queanbeyan. George has also held administrative positions at the Canberra Glassworks and is currently curator at Craft ACT.

Avi Amesbury graduated from the ANU School of Art in Canberra in 2000. Until recently she was chief executive officer of Craft ACT. She resigned this year to devote more time to her own ceramics practice.

Gilbert Riedelbauch was born in Switzerland, where he studied at the Akademie der Bildenden Kunste in Nuremberg, graduating in silversmithing. He came to Canberra in 1992. He is currently Head of Foundation Studies and Graduate Coursework Convenor at the ANU School of Art.

Each artist's collection of work occupies a separate space, so this is really three small distinct exhibitions in one.

When Mel George returned to Canberra after several years abroad, her work in glass was concerned with the concept of displacement, having lived in both Canberra and the United States.

It prompted her to examine the way we store memories and mark the passing of time. George used the intimate format of the postcard and the Polaroid photo – traditional methods of capturing an experience of time and place – to make a series of wall panels. In these panels she sought a more permanent expression for these past memories.

In this present collection of work, however, George has investigated how we mark time itself. The small, rectangular format is still used but the wall panel is now based on the weekly diary planner so that each day is included, with five weekdays and the weekend at the end divided diagonally into two halves. In some of the panels there are barely discernible crosses whose meaning is unclear but they rather reminded me of old calendars with special days like red-letter days for saints notated.

Each series of panels is arranged like a tonal colour chart, reflecting a week with its designated colour. Thus we have Orange, Red Week, et cetera. The colours in these panels are very diffuse and seem to swim and dissolve before you. Where the colours are very close in tone, such as in the Ivory Week and the Cream Week series the colours seem to vibrate and float. Yet where the tones are more differentiated, as in the Red Week panel, this effect is not so noticeable. In the Cream and Ivory panels the sense of an added dimension of limitless space underlines the idea of time still being elusive and unbounded and for me greatly adds to the appeal of these particular works.

Last year Avi Amesbury had a very successful exhibition at Form Gallery in Queanbeyan. The works in this exhibition are related to the series of ceramics that were shown there.

Unlike the work of Gilbert Riedelbauch and Mel George, Amesbury uses photographic imagery and text and her work is more overtly connected to a narrative. However, like Mel George, Amesbury's work is also concerned with time and memories.

Her Unravel series based on the now defunct docks at Cockatoo Island in Sydney uses photographic images to recall memories of a lost era. Her delicate beakers and bowls are in neutral and earth tonings and she gives prominence to the tactile qualities that come from clays and decoration. Her work A Land's Journey brings together all the strands that are present in her work and is a poetic essay in ceramics, text and image.

Gilbert Riedelbauch works across several fields involving metal work and design. He has not abandoned the handmade object in the wake of his interest in new technologies but he explores the way the handmade object can also be part of this developing field of computer-aided design (CAD) and rapid prototyping technologies.

His work in this exhibition encompasses several large, folded geometric and sculptural forms made from an aluminium composite material that is robust but light and durable. These sculptural pieces are striking, with rich colours of reds and teal blues. While some of the works are flatter in form, such as Wave 1 Red, others have the sharp folds of paper origami shapes. Most are displayed on the walls of the gallery, although they would work equally well as dramatic table pieces.

Riedelbauch is not prescriptive about their function. The appeal of the works is their elegance. The pared-down forms and the precision of their component parts fit together like well-constructed, sleek and beautiful machines. Yet tantalisingly personal, on two of the works, as if it might be an artist's mark, is a small inlaid pattern. These objects function as one-off designs but could also be prototypes for studio production.

This exhibition provides only a small insight into the work of these three Canberra's artists, yet hopefully it will provide an enticement to seek out more of their work in Canberra galleries.