Both the artists for In the Landscape are concerned with how to successfully elide the photographic within the painterly or rather how to use the two mediums within the same image in ways that each speaks to the other and is an equal contributor to the aesthetic and thematic efficacy of the overall work. Both are also concerned with figures in the landscape (although Dunn's landscapes are predominantly urban while Harding's are resolutely rural).

In Dunn's cityscapes, the figures are (often) overpainted, usually with coloured pencil and watercolour, in a process that verges on dissimulation but that does not quite reach that point. This imbues a purposeful tension that adds a degree of questioning mystery to the almost episodic scenes Dunn presents. The figures stride purposefully through their blurred (again deliberately) environments. This aesthetic ploy reinforces the impression that the protagonists are moving with some purpose through the spatial configurations supplied by the artist. The figures are faceless but nevertheless imbued with an introspective determination that propels them forward. This kinetic character is particularly effective where the figure operates in the confines of blocky semi-industrial buildings. The setting and the real contrasts between the organic and the abstract are beautifully played off one another in a number of works.

As the title suggests "colour" is highlighted in Moving through colour (Cat.15). The overall effect is a sort of filmic abstraction in which line and form continually moving across and through the surface combine to create a slowly revelatory sequence. For me this is a particularly resolved and sophisticated image speaking simultaneously of both the photographic and the painterly and of the strength of their successful amalgamation. While there may be suggestions of the work of Gerhard Richter, I am not turned off by allusions to august progenitors and see this as acknowledgement rather than as appropriation.

Annika Harding's works adopt a subjective stance and are about her reactions to and relationship with the bush landscape of Canberra and more exotically Finland. Her use of colour is restrained and subtle, perhaps in some examples even tenuous.

Harding is both artist and protagonist and is present – viewed from the back – in a number of the works. The artist has a sure eye for capturing the nuances of light and shadow that characterise the environments she walks through and there is a certain "pictorial" quality engendered in her work throughout the exhibition. This is not to say that her images aspire to the condition of painting rather that she understands the benefits of instilling the qualities of one within the other where this is appropriate. Her use of paint (acrylic) is almost diaristic. In In the way I walked #1, a thin, circular trail of colour indicates the path she took through the place depicted. This device is at once conceptually, thematically and aesthetically compelling and in its idiosyncrasy revealing of the artist/subject. The use of text in some of the work seems superfluous and for me the subtlety of the painted mark or gesture is more telling.

Both artists in In the landscape interrogate the boundaries of their medium(s) in ways that make us as viewers aware of this activity. Theirs however is not didactic stance. It is extending themselves and their practice and the results are intriguing and beguiling images that extol the benefits of their explorations.

Peter Ranyard's River captures the beauty of a largely inaccessible part of New Zealand visited by the artist over a number of years. Ranyard is obviously deeply attracted to the sites pictured in the 28 photographs that comprise the exhibition. Each image is beautifully rich in topographical detail and this, aligned with a reverential awe for the power of the natural world, gives them powerful presence. Ranyard uses black in a particularly effective way. His blacks are dense and lush, redolent of a primeval past and of things no longer present. They are both colour and mood and act as purveyors of memory. The memories may initially be those of the artist and relate specifically to his chosen subject matter but it is a credit to him that viewers are invited (albeit extremely subtly) to move from his particular reveries to those of their own. Ranyard's evocative atmospheric landscapes clothed in his marvellous blacks are about memory and the power of the natural world to continually elicit responses from those who care to converse with it. They are about possibilities of loss, and about places once experienced but now remembered. They are also beautiful.

Oscar Capezio's NEW PAINTINGS is an installation consisting of "wall painting … altered gallery lighting, furniture ... magazines, business cards, unprintable digital image on HDTV, interim-finger-painting on plush-pile carpet, paintings-without-paint, drop-cloth-paintings" but the "paintings" of the title are actually found reproduced in the Premium Magazine found on a coffee table in the exhibition space. The installation is, I think, meant to resemble some smart interior but the inclusion of outdoor furniture (two chaise longues), net curtains and a sloppily painted dado area removed it from "chic". The artist describes himself as "an ever-elusive art trickster and conceptual strongman". Perhaps he is but this piece did not work for me. Too clever for words?