Based in Castlemaine in Victoria, Justin Andrews is an artist in his 40s who proclaims an essentialist perspective in his art-making. In other words, the process of making an art object follows its own intrinsic and intuitive laws to which the artist surrenders and the result may be as much a surprise to the artist as it is to the public.

In his artist's statement, Andrews speaks of relinquishing "conscious control" with the colour choices "usually impulsive" and the painted surfaces "like compressed and stratified versions of the voluminous space that surrounds them". In some ways, it is about making art in the moment and excluding a conscious deliberation about structure, composition and content, and allowing the eye and the hand make decisions that have not been distilled through reason.

Andrews works in the tradition of hard-edge abstraction with its origins in the work of the Russian artist Kazimir Malevich, but as reinterpreted by the American artists of mid-last century. Andrews builds up his surfaces with non-figurative geometric designs painted with taped edges that produce sharp tight edges when the tape is torn away. On occasion, he allows the paint to seep under the tape to allow blurry lines to create a combination of hard crisp surfaces occasionally juxtaposed with a melting edge. He works in acrylics on stretched canvases enhanced with a mixture of metallic paints, especially gold and silver. Through these he builds up his compositions in layers, one on top of the other, allowing spatial ambiguities to form and creating kinetic surfaces through which the eye is invited to navigate.

Many of the surfaces of his paintings are dominated by a striking canary yellow zigzag (or occasionally a red or an orange one), which momentarily catches the eye and draws you diagonally through the composition. In this sense, they are rather dizzy paintings and attractive in an ephemeral sort of way. The whole resonance idea in music involves a deep and reverberating sound, while in Andrews' paintings it is the resonating shapes and colours that form the paintings and represent the sum total of processes that went into the making of these works. This, I assume, is the reason why he has called all of his exhibits resonances.

As an exhibition, I found the paintings more effective individually, than "en masse". Each one required a period of prolonged investigation and examination for all of the interconnected strands to reveal themselves and for the potential of the composition to be realised. When shown competing for attention with the other "resonances" on the walls, the whole experience becomes a bit of a cacophony.

If one is seeking a musical equivalent, this exhibition is a bit like going to a techno concert with colour accompanied by pulsating sound and energy.