THIS is quite a large scale, ambitious exhibition, filling the whole upstairs gallery and a few side rooms as well. It includes paintings and prints stretching back to 1982, many - even most - of them inspired or triggered off by the hypnotic landscape of west Cork, where Murray now lives. Though he is best known as a graphic artist (and also as an excellent teacher in that field), the heart of this show are the paintings, many of them quite large and most of them brashly colourful, rather Expressionist in style, and heavily impastoed.

Murray's early paintings, as I remember them from the old Independent Artist days, were much drier in treatment, rather cool emotionally, and with a quasi geometric basis. He is now, however, virtually at the opposite end of the field, and just possibly the example of William Crazier has been one signpost along the way. The big oils, however, are much denser, fiercer and loaded than Crazier's relatively aerated style; they draw or thrust you right into their close up, swirling vortex of colour and heavy, rich surfaces.

Though in places there is more action than thought, mare emotion than farm and mare attack than subtlety, these paintings have a strong, immediate presence and they suit the RHA's devouringly wide spaces well. Generally, however, I found myself drawn more to the smaller and less ambitious pictures, although there are three or four of them which appear to echo, and rather too obviously, the influence of Howard Hodgkin (of all people). Boghole and Bog Grass, for instance, has more concentration than the bigger paintings, mare clarity, and a purer, less hectic and more unforced lyricism.

As a graphic artist, Murray is entirely in his element, and here he does not force the pace or the scale. The works of the 1980s are relatively linear and rather dry in style, though always technically accomplished; and the series of "Poet" etchings is inventive and individual.

The mare recent colour etchings, however, keep this linear refinement with an added element of mystery and glow. Reclaimed Field, Gort is a powerful, visionary work and Leach an Leighis and Lazybeds is equally fine and original in its complex linear rhythms. For a dozen or so mare of these incandescent pieces I personally would have been prepared to sacrifice a certain number of the big, turbulent - but less "realised" oil paintings.