Newlyn Art Gallery's main exhibition featuring the work of more than 70 amateur and professional Newlyn-based artists offered a uniquely diverse collection of works priced between £36 and £10,200.
"It is not often that such a diverse range of subjects and materials sits proudly together. Newlyn should be proud," said organising artist, Annie Metcalfe.
The exhibition was bursting with magnificent pieces but perhaps most deserving is Michael Porter's invitation into a organic life in Coastal Path.
Marion Taylor also deserves credit for lifting the imagination in The Floating World while Annie Metcalfe's Lagoon offers a sensation of creamy pastel swirls punctured by a delicious chunk of deep burgundy bursting forth.
Roger Curtis' pink-tipped lilies in Kaffir Lilies are beautifully subtle and Mary Warren's Moorings Old Harbour is so perfect you long to step in.
Figurative paintings from Bernard Evans and Ken Symonds offered wonderful depiction of Newlyn's age-old vistas while Barry Spencer's busty brunette giving the cyclist an eyeful in Jelberts Jollies, is a playful portrayal of the village's favourite meeting place.
Joy Batten's Remembrance and Emma Wink's Georgia presented fine examples of photography.
Gerry Matthew's Water Music is exceptional portraiture that captures a musician busking in the middle of a pond.
Roy McInnes and Alan Mackay followed in the footsteps of artists such as Dod Proctor with their paintings of the nude in recline.
And one can almost taste blue ink in Andrew Harvey Clark's The Nitemare, depicting St Michael's Mount in a milky sea.
Jane Sherwood's Big Daddy meets Boudicca instils the desire to pick up her wide-eyed character and jump aboard his magical mystery ride, while Daphne von Achten's red rocky world in Passionate Landscape no 10 Runswick Bay commands undivided attention.
Pure abstraction was no better interpreted than through John Mitchell's aluminium plate relief Slotted Fibonacci Square.
And bursting with movement was Margaret Mitchell's textile The Road to St Ives.
Richard Cook's sinister Partou and Francesca Aeos Elaphios' Portrait of Peter Carter are dramatically different, yet dynamic and sensitive portrayals going beyond facial qualities to intangible poignancy.
Marc Nicholls' Albino Hyena hanging painfully face down from a red ceiling with teeth bared from a snarling mouth, apparently depicts the human psyche, "a subconscious response and to make you think about life, death and the in-between bits".
And three dimensional pieces were represented through ceramics and wood in Roy Bayley's Nothing is ever finished and Lynne Livine's fine piece of papier-mache and decoupage in The one that got away, while Rex Wallis' Mystical Forms demonstrated the art of fine carving into natural materials.
article copyright THE CORNISHMAN