Part of the Process showcases recent work by three artists with highly individual aesthetic languages. With such clear identities their work in combination might have been a risky call, but this exhibition beautifully exemplifies an underlying synergy and synchronicity that simultaneously celebrates each work and the overall exhibition.

Julie Pennington's 17 pieces are about a number of things but primarily for me she conveys her joy in the processes of making her elegantly cool porcelain vessels. Her forms are simple – essentially (mostly small) cylinders. Her palette is equally simple – either monochrome chocolate or white. This paired simplicity is very effective and imbues an air of "containment" that is a neat contradiction to the activity of making so overtly part of the artist's aesthetic strategies. Pennington's forms are accretions of string-like lines that are coiled to make the whole that swirls around the open interior. The build-up of these is full of creative energy and movement. As both decoration and form their symbiosis lies at the core of the success of the exhibited works. The artist's processes are clearly delineated and indeed almost revelled in as one views each work. The layered linear textures are sometimes further enlivened through the addition of spiked elements. Pennington is able to assert individual character while celebrating familial similarities in her selected works.

Jo Searle's works in her Gudgenby Soundmark series are as much informed by the appearances of nature as they are by the sounds of the natural world. Searle's 15 pieces are an admixture of stoneware and porcelain fused together in again simple, folded vessel forms (cylinders predominating). The beautifully evocative surface decorations employed by the artist are played off against and controlled by the monochrome interiors (mostly dark grey, some white). The folded forms both express and encapsulate the landscape and the sounds that emanate from that landscape. The linear decorative motifs are grouped in rhythmical flows around the surface and as well as intimating musical notation imbue a wonderful sense of the vitality and flux of nature. Catalogue 32 is a particularly strong example of this and the inclusion of dense lithic forms imparts visual solidity to its accompanying graphic linearity.

Catalogues 18 to 25 exemplify the artist's consummate control and understanding of her chosen medium and its decorative additions. The simple cylindrical forms are accompanied by equally simple linear decoration that simultaneously embraces its cylindrical host while evoking the trees and other flora of the bush landscape wherein lies its source. Again, the grouping of lines intimates musical notation and subtly reinforces the aural echoes of the natural world that the artist so quietly expresses throughout the exhibition.

Heidi Strachan includes 27 painted works among her ceramic pieces. The latter, like others in this exhibition, are simple and direct in their formal structure. This simplicity, as elsewhere, does not deny qualities of eloquence and elegance. The paintings reflect her journeys through the local landscape, journeys that impact on her personal and collective memory and result in idiosyncratic notations on and through the beeswax surface of her works. These notations are often clearly legible translations of animals, landscape elements, marks of human intrusion (for example, road signs) or simply intimatory, descriptive marks like a slash of colour or an etched impression into the pictorial surface. Each though is a mark of passage through, of places passed, of landscape glimpsed but retained in the artist's memory – in a sense a visual diary.

Like Pennington and Searle, Strachan's completed expressions capitalise on the processes of making and in particular on working with encaustic. This medium has allowed her to produce subtle and nuanced textures characterised by insinuative marks and gestures cut into the surface. The efficacy of this is beautifully captured in the Burnt series (Catalogues 65 to 70) in which the evocative refinement of the artist's explorations speak of the land and its continuing effect on the creative imagination.

Strachan's ceramics works reflect her experiences of living in Korea and studying Korean ceramics. Some of the present work clearly acknowledges this, Buncheong I – III, being paramount among these. Others incorporate the journeys that characterise her painted works but in ways that are informed by the ceramic forms on which they sit rather more than by the landscape that provides her decorative elements. While the Korean-based forms (mostly) do not deny their patrilineal connection to their source they also announce the impact of the Australian (Canberra) environment and landscape in particular on the artist's creative thinking.

Part of the Process is a singularly beautiful exhibition full of exemplary and aesthetically exciting and captivating work. The display is considered, and as eloquent as much of its constituent parts. The space of the gallery becomes an aesthetic corollary rather than an intrusive partner and makes the exhibition a truly inclusive and enhancing experience.

Kirrily Humphries' Dross is a quietly meditative exhibition and like Part of the Process an exhibition not to be missed. There are seven pieces on display, each oil on Arches paper. The images are small and exquisite in the manner they are made and in the manner they are placed off-centre on the paper on which they sit. The gallery space becomes a quietly elegant arena for contemplation and reverie. This is underscored by the muted inchoateness of the atmospheric interiors that constitute the artist's subject-matter. The works form part of the GNH Interior series. Each image is full of the muted melancholy of empty spaces and speaks of memory, of past inhabitants and past activity. The simple and limited palette is quietly effective and subtly embracing and allows the architectural structure and enclosed spatial configuration to be legible to the viewer.

The off-centre placement of the images creates an aesthetic of concentration that draws the viewer across the startling blankness of the paper into the carefully constructed interior view of the deserted hospital rooms. As in the previous exhibition process and theme (form and content) are elegantly aligned. Here the psychological implications of the empty space are quietly present and the implications of time passing are also not denied. The unpeopled narrative awaits viewer input. For me these works are simply beautiful in their understated visualisation of interior states in a language that announces a resolved and nuanced aesthetic, at once controlled and expressive, private and universal. A remarkable exhibition.