Robert Bleyerveen has a curious connection with Ginnindera – a historical, symbolic and spiritual association – and this has served as his inspiration for this exhibition.

In the catalogue essay, he tells us that in 1825 a convict named Thomas Jones was employed building huts on the Limestone Plains, and was the first person to build a fence on the Ginninderra Estate. Bleyerveen's mother was the great-granddaughter of this convict and, following his mother's death in 2016, Bleyerveen is reclaiming part of his heritage in his art. The exhibition is being held not far from the site of this fence, an area known to the artist since childhood.

The first fence on Aboriginal land was both a scar on the landscape and an artificial line of demarcation: it circumscribed a space within and, by doing this, defined the space that lay outside of it. The main theme of the exhibition is the metaphor of the fence and the spaces on either side of it.

Bleyerveen works predominantly in a non-figurative manner in acrylics with bold expressive blobs of colour, and he employs a generally subdued palette. Viewed from a distance, the overall effect of the paintings is reminiscent of batik, where droplets of colour appear to float on the surface. As in Aboriginal art, Bleyerveen employs multiple systems of perspective, so that we seem to be inside the work at ground level, as well as floating above mapping it.

A key painting in the exhibition is the largish diptych titled Both Sides of the Fence, executed with diluted, flesh-coloured blobs against a motley dark blue background. The main shape is organic, like the limb of a body scarred with drops of blood. The fence line may be interpreted as the vertical seam running between the two canvases and marking an artificial division, which may be viewed differently depending on which side of the fence you are on.

Other significant works in the exhibition include the large painted diptych,Transformation, and the ambitious mixed media work, Subdivision, which is one of the strongest pieces in the show. The exhibition is built on explorations of imposed systems of demarcation on top of a landscape and organic masses that absorb the imposed systems.

They are paintings by a mature artist who contemplates his surroundings and attempts to untangle the competing narratives that criss-cross our land, some of which may be concealed at the bottom of our artificial lakes. Bleyerveen has produced a sonorous and meditative show that involves a profound contemplation on the earth beneath our feet.