This presentation of over one hundred exhibits by some sixty graduates offers a broad range of art forms and styles to provide something for everyone. It's refreshing to see basic skills are being taught. No matter how clever the idea or potent the statement, if it can't be translated into a good artwork, a well resolved object or presentation that communicates visually to the audience, then it's not visual art. Although the quality of the work here varies, there are sufficient examples of good works of visual art to make visiting this exhibition worthwhile.

Rose Holdaway, Tara Gower and Ann Hart display how well they can draw and manipulate the medium of paint to create a mood. Holdaway defines the figure realistically to evoke emotional states, Gower's monochromatic diptychs employ colour and sketched aspects of the figure to suggest yearning, and Hart uses mellow hues and reflections in windows and mirrors to present fractured domestic scenes. Each artist's style is her own, all are quite good.

One has to admire Nathan Setzinger's sculpted corrugated cardboard lounge suite, not only for maintaining ideal proportions throughout but for the effort involved and his attention to detail. Also appreciated is the array of small organic shapes produced by Miik Green. These colourfully painted sculpted objects clinging to the wall are rubbed smooth and demand to be stroked.

Natasha Mot offers two wall installations that attest to women's often under rated contribution to the farming community. Employing photographs, fabric, hand-made paper and stitching, Mot makes a powerful statement. The work has been well considered and constructed so as to present as a visually intriguing exhibit that draws the viewer into the diologue.

Another powerful statement is made by Caro Coffe's textile work that is presented as an installation. In a black room Coffe hangs a collection of white aprons stitched with spiral motifs, some in neat squares others nearly torn off. There is also a grid of spirals drawn with a finger in white flour to reveal the black floor beneath. This quiet yet potent reference to young girls ripped from their family and put into domestic service stays with you long after leaving the venue.

As noted above there are many fine works displayed here, there are also plenty of cute but mute efforts, a few 'naive' exhibits (the term once meant 'unschooled' but is now used to justify rubbish), a weak attempt at emulating Jackson Pollock and a poor imitation of Henry Moore. Catch it while you can.