It's only on for a week but it's open every day so don't miss this opportunity to see a comprehensive collection of work on paper by this highly respected artist. The exhibits date from 1960 through to this year and if it exemplifies any one fact it is that Haynes is, and always has been, excellent at the humble art of drawing in it's most simple form, black and white.

Don't let that fool you, it takes an inordinate amount of ability to do it half as well as Haynes does. Walking through this exhibition is a valid lesson for anyone who has ever picked up a pencil. Not too many artists today can take a single contour line and with it capture the exertion of effort as seen in the series Labours of Hercules (1975). Then there is the artist's ability to create light and volume simply by changing the direction or character of the mark.

Single lines, squiggles and crosshatching is used to articulate a variety of subjects from buildings to the bush. It reminds me of the old adage repeated by every art teacher and heard by every art student,  "There's no such thing as a boring subject, only boring drawings." In Haynes hands, the subject of an old truck or a clump of bush on a rise leaves the realm of the mundane to become an engaging collection of marks that produces an interesting drawing.

Figures too are presented, some obviously 'exercises' in the studio or sketched in the class room. Seated Figure (1980) is a simple study of a nude that offers a perfect example of foreshortening. By comparing the size of the feet to the shoulders, we can accurately pinpoint were the artist sat in proximity to the model when he executed the sketch. In this image we delight in how the curved volume of the limbs is suggested by straight lines of the different weight.

In the Park (1995) is an exercise of dark on dark. The image involves a group of shadowy figures sitting in the shade of a tree. As the figures emerge from the ground, by means of a change of pencil stroke, we recognize it's nothing sinister, just an outside drawing class.

All is not darkness. Haynes knows how to leave areas of the surface 'empty' so the whiteness of the paper is activated, filled in, by our imagination. The 'nothingness' becomes a part of a landscape, the curve of a cheek, the glare of the sun on a rooftop or a means of balancing a composition with a negative area. We can identify the subject matter of the picture, perhaps a figure in a window or folk peering out from under hat brims, but we can also find an abstract pattern of light and dark that gives a pulse, a rhythm to the image.

Go to this show, learn what drawing is about. It's about looking and seeing. Go and look at these drawings and you'll see what I mean.