Simon R. English's exhibition is divided into two separate, but closely related series. The first takes landscape as seen from a moving train; the second arranges either a bookcase, cabinet or chalice-like vessel within a sparse interior setting.

In terms of broad subject content that's the exhibition covered. In actuality however, these paintings offer much more, as the artist preserves the ordered similitude of the subject, while marking therein a flux of subtle formal change. In other words, sameness and diversity are in conflict as balance, symmetry, scale, format, proportion - and to a lesser extent colour - are gently modified throughout.

In the landscapes specifically, there is again conflict, as English distils surface detail (in keeping with impressions stolen from a moving train), but simultaneously infuses colour with a naturalism suggestive of more lingering observation. Similarly, the painted surface implies richness and tactility, but the finish has a glass-like smoothness - the brushstrokes visible and alive, yet sealed behind an invisible transparent barrier. This effect was probably achieved by a combination of applying numerous layers of glazed and scumbled paint on a smooth hardboard support, periodically sanded to prevent textural build up. Either way, the result has produced eerie and contemplative work which, rather evasively, unites corporeality with a diffuse evocation of some indeterminate time and place.

Runs until 11th Feb