Jo Chate's paintings may appear at first glance to be abstract compositions of lines and blocks of colour but gradually the structure of her urban and interior spaces manifest themselves through hints and suggestions of objects and architectural details. They then evoke a sensitivity to those corners and views of our everyday environment that are glimpsed at but barely registered. This experience is heightened by a use of transparent layers of perspex and acetate, giving a distant quality to the images. They are not so much to be looked at as looked through, giving a very personal sensation to the sight of these seemingly impersonal places.

The intricate textures and marks of Ben Deakin's paintings knit together to form writhing geological forms and landscapes which shift in scale and focus. What appear to be details of rocky slopes and rugged hillsides might lead the eye to expect a traditionally Romantic image of a mountainous vista. Here however, the forms collide and buckle in an evolutionary confusion, the images become disorientating, prompting the eye to explore and journey through the land-forms, seeking a rational perspective, so that the paintings become more about the visual experience of landscape than about a conventional view.

By contrast, Toby Duncan's work is comprised of installations and arrangements of objects which are reminiscent of everyday articles but which defy any real classification. Here they are liberated of their practical purpose and displayed in lively collections of multiples so that one is obliged to consider the physicality of each evocative object in their own right. On close inspection the variety and singularity of the seemingly similar becomes apparent, but then, when viewed as a whole, each object submits its individuality and their appearances unite to take on a painterly quality or a sculptural form.