ONCE in a blue moon you may be offered the chance to view two different ethereal artists' work at one and the same venue, writes Tom Kennedy.

But this October that is exactly what you can see at The Over the Moon Gallery; Church Town, St Agnes until the 18th.

The present feature exhibition, entitled, Come to Light; illuminates the novel works of Becky Leest and Andrew Wilkey, and aside from the two featured artists, contemporary works by other local exhibitors are also on display.

Director of the gallery, Mike Mason, exhibits works which he says "are not commonplace". This becomes instantly apparent on entering the gallery.

For instance, the internal entrance to the gallery is flanked on both sides by two metallic canine sculptures by Duncan Therly.

To the right of the portal a hound stands severe up on a guitar, hence, predictably the work is entitled Dog on a Guitar.

As for the dog on the left of the entrance; place this canine by your gatepost and you will be collecting your own mail from the post office.

However, having stealthily sneaked by the dogs, a sympathetically lit artscape adorns the rear white walls of the gallery which allows the first sight of the impressive impressionist works of name.

The themes of these works are mainly of local landscapes and many of those vistas; agreeably, vibrate, in a most chirpy manner while others depict scenes, which in times Elizabethan, would await the arrival of birds destined to sit brooding in the snow.

In a separated acquiescent area of the gallery The Come to Light exhibition may be viewed.

Andrew Wilkey an artist of some repute shows in his works deft depth in his applications, this style precludes the use of repetitive pictorial clichés.

On viewing his depiction of the awesome Minotaur of the labyrinth, it allows the observer two options either run, or in desperation, throw a great big ball of string at it.

Last but not least, a selection of Becky Leest works are displayed. This is Becky's sixth exhibition in the county. Her works have been published on the covers of several classical music publications, including Handel's Messiah, and The Magic Flute.

Becky says she was partially influenced during her formative period by Mark Chagall and William Blake. While there is some subjective evidence of a Chagall connection, parallels of Blake, to Leest are uncommonly evident.

Look carefully at Becky Leest's paintings and this witty technique becomes evident.

Blake's works in most cases were of his time, depicting such dreadful scenes as Satan inflicting boils upon Job.

However on occasion he produced an enigmatic piece, as in Jacobs Ladder, which begs the question why in this painting, why are individuals descending the ladder. The background also challenges the viewer to form their own conclusions as opposed to being forced to accept the dogmatic views of sagey arty academics.

So it is with Becky Leest's works, many interpretations of her works may be formed by a viewer none of which may be disregarded as poppycock.

For example the painting Flower de Luce, depicts a simple angelic face set against a dreamed seascape where a three-masted ship, sails billowed, is depicted. However given the expression on the woman's face the question is, is the ship arriving or departing, an ingenious paradox, to be sure.

In order to answer this poser I attempted to source, the Flower de Luce, my thought being was the captain of the ship about storm ashore to pick the flower or was he fleeting from the ropes' bitter end?

I wasted my time, the Flower de Luce is a figment of Becky Leest's incredibly inventive imagination.

For more information on the gallery see www.overthemoongallery.co.uk