It is hard to believe that this is Greg Daly's 101st exhibition.

Daly had his first solo exhibition in 1976 at the Potter's Cottage in Melbourne.

During his professional career he has lectured in ceramics and written several key books on ceramic glazes.

Daly has had many exhibitions in Canberra including one in 2014 at the Belconnen Arts Centre called Reflections.

It was based on an exhibition held at the Cowra Art Gallery called 40 pots I have kept.

This gave an insightful view of the work of this artist charting the different directions he has taken in his work over many years.

Daly's continuous output of beautiful pots and his seemingly inexhaustible well of creativity is impressive.

He has always drawn inspiration from the landscape which he observes acutely.

It is perhaps pertinent that the title the artist originally had chosen for this exhibition was Line of Sight: Land, Sky, Light.

He writes, "the views I see from my studio have been distilled into these pots - from the grasses at the doorstep to the far hills seen across paddocks full of eucalypts".

Daly is constantly experimenting with new glazes and textural effects.

His obvious command of glazing techniques allows him to use glazes as if he was a painter and the surface of his pots is the canvas.

He can be bold with colour and texture, as in the Parched Earth series, or create soft delicate mists of colour as in Canopy.

Lustre glazes, an ancient technique of glazing ceramics with iridescent colour, have become synonymous with his work.

Light illuminates Daly's work in a mystical way.

Indicative of this driving force is a large bowl in this exhibition entitled Morning Glow - its exterior and interior surfaces are glazed with a rich golden colour.

Placed near a window in the Nancy Sever gallery, it seems to draw the light into its orbit then reflect it back to the viewer so its surface is a constantly changing kaleidoscope of colour.

In fact, it is quite difficult to ascertain the colours of the interior glaze inside its open bowl because as you bend over to look inside, you are mirrored in its reflective surfaces.

Other works are examples of the artist's ability to use the effects of glazes to subtly suggest the reflection of light on clouds and the changing time of day from dawn through to night skies.

A small pot, Midnight, demonstrates that, even in absence of daylight, there are magical effects to be seen in the cloudy windswept night skies.

And in the Moonlit Clouds series, delicate interplay is created between clouds and sky to provide pleasing abstract patterns.

Daly's dramatic new series (Parched Earth) has been influenced by the effect of lack of water on the land and how this defines the colours of the landscape.

The artist uses bold slashes of colour on small areas of the pot's surface.

These painterly areas are surrounded and defined by a heavily textured natural coloured clay body.

Although abstract in design, a dialogue is established between the intensity of the coloured areas and the starkness of the brown clay surround.

In Grasses, another new series of works, grasses that the artist has observed on his doorstep provide inspiration for the calligraphic patterns that weave over ceramic surfaces.

It may be fanciful, but these dancing lines seem to have an affinity with the calligraphic script of Islamic art found on the tiles that decorate mosques.

It's a pleasing connection considering Daly's love of lustreware that is so characteristic of Middle Eastern ceramic decoration.