Touted tongue-in-cheek as "Cairns' answer to the Archibald", Blunt Edge, now in its third year, walks a fine line between artistic in-jokes and a genuine appreciation of character.

Featuring both a strong collection of up and coming and established artists, the premise of delivering a "portrait" of a randomly selected artist seemed to hinge on the quality of the interaction between many of the artists and their subjects, although some managed to effect striking work with little apparent direct contact.

Pictures: Blunt Edge exhibition

Tijn Meulendijks by Malaichi Aird captured the contemplative nature of Meulendijks, while Damien Aistrope by Samuel Tupou conveyed a sense of playfulness served well by Tupou’s vibrant style.

Joel Goodman delivered an interesting translation of the portrait concept in his Julie Poulsen work, while Kristin Tennyson’s piece, Leith Maguire, radiated a fierce vulnerability through her use of contrasting delicate background and strident foreground application.

The vividly eerie, charismatic composition of Colyn Huber by H.J. Gillespie, the finely-crafted portrait of Kristin Tennyson by Theo Tremblay, the depth and substance of Dom Johns’ Midaviaux, George Wagner’s power of suggestion in his Buck Richardson composition entitled Vol d’un Papillion (de Nuit) (awarded the Early Bird prize) and Ed Koumans’ deftly layered image of Samantha Creyton all demonstrated the strength of practice of many long-term artists.

Photographic and multi-modal works were also particularly insightful, with Nicola Bryars by Janette Laver, Neil Parker by David Campbell and Morgan Brady by Glen O’Malley all great character studies resplendent with insider references.

Sarah Pratt by Midaviaux was a darkly incisive blend of images, music and words, although the rhythm of the piece needed a little pacing.

Visually literal representations garnered much attention, with Simon Poole by Caroline Mudge providing a real homage and attracting both the Runner Up for People’s Choice and the overall Blunt Edge perpetual trophy; while the sublimely detailed work of Phillip Johns in his study of Kylie Burke cornered the People’s Choice Award.

Blunt but never without charm, it was an event that breathed life into its subjects.

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