Stapleton's 16 works are characterised by fluid paint application and an immediacy that is visually and thematically effective. The four figurative works, all from 2021 and all oil on canvas, depict dancers. The titles, Yellow, Red & Prussian Blue, Ochre, Purple & Teal, Red Rhythm (Oak Frame) and Blue Rhythm (Oak Frame) refer respectively to the colours used in each. While the titular colours are certainly prominent, the subject in each is the dancing figures.

In Yellow, Red and Prussian Blue, the dancing male figure is placed on a horizontal band of red that occupies the bottom quarter of the picture plane. Its stark geometry is played off against the deep black rhomboid form occupying the great majority of the spatial configuration, broken by the triangular flow of acid yellow that constitutes the top left-hand corner of the painting. The frontal plane is activated by a semi-nude male figure whose movement across the picture plane is cleverly pictorialised by the ostensibly simple trope of repetition. He appears in two poses, each being one part of the overall dance depicted by the artist. This is a subtle study in both movement "stilled" and space activated.

For me, Stapleton's best works are a series of nine portrait heads in which she adopts a sketchy approach to the sitters' backgrounds. These are loosely painted, animated and atmospheric and allow the more solid images of the sitters to emerge from within. The (mostly) heads are looking away from the viewer with a gaze that alludes to inner psychological states, evoked rather than described. This is exemplified in The Thinker, Locks, Electric Blue and Red.

Narelle Zeller's 13 works are paeans to the still life tradition as evinced especially in the work of 17th-Century Dutch artists. Zeller's still lifes are produced from photographs of floral arrangements created by a friend and which echo the lavish compositions seen in the works of, for example, Rachel Ruysch, Jan De Heem and Peter Claesz, masters of that genre in 17th-century Netherlands. The carefully contrived paintings of these (and other) artists provide glorious progenitors for artist and florist alike. Zeller's works are exquisitely detailed with each element intricately pictured. Individual floral and faunal identities are also not forgotten and the artist's virtuoso realism adds another layer to her compositions.

The dark backgrounds offer not only tonal contrast to the rich colours of the flowers, grasses and the vessels they sit in, but also imbue a sense of timelessness into each work. The insertion of skulls, moths, snails and spiders into some of the artist's work further allude to the Dutch art she so admires. These inclusions evoke the vanitas still life in which symbols of the cycles of life and other more esoteric themes were both painterly and philosophical additives.

The use of dark frames is another layer referential to 17th-Century Dutch predecessors. The exquisiteness and attention to detail that characterises the works can lead to an objectivism that removes the value of personal style. The balance between highly accomplished technical expression and pictorial obsession is present here in these highly accomplished paintings.

Mirror, Mirror is a strong exhibition, its contrasts and contiguities, subtly displayed in the gallery spaces.