If you feel you've been starved of good artistic skills then attend this exhibition and feast your eyes on the drawings, paintings and sculptures on display. Brian Richard Taylor presents a smorgasbord of artworks that exemplify his ability to create a believable world of fantasy with well manipulated line, colour and form.

The Medieval Harlequin, predecessor of Court Jesters and modern day clowns, was able to point out the foibles of the high and mighty with impunity. Taylor employs this ancient character, resplendent in a diamond patterned jump suit, as a means of opening the door between reality and imagination. These perfectly drawn and painted, sculpted and patinated, characters and concepts are still and silent yet malleable enough to fit any narrative we devise.

All the works on paper are complete in themselves while some are preludes to paintings. For example the drawing Preacher, a rear view of the Harlequin with hand in the air, is repeated in the painting Sermon preaching to empty chairs and again atop a mountain addressing the whole of nature in Soliloquy. Placing our hero in very different but equally well painted environments reiterates the fact that no one really listens to the proselytizing of others. Meanwhile, I look forward to the drawing Helping Hand being reincarnated one day as oil on canvas. Here a gentle centaur bends his human half around to offer his hand as a stirrup for the nude lass so she can mount his horse back. Yes there may well be a sexual undercurrent in this work, the extent of which will be decided by each viewer. Just don't overlook the gentleness, innocence and mutual co-operation expressed by this little drawing.

Taylor's work owns a sense of honesty rather then voyeurism as his voluptuous nudes cast aside false modesty. There's no pretence of innocence in the painting Torment of St. Anthony. Here a solemn Harlequin stands amid a flurry of dancing dark haired, nubile nudes. A picnic lunch of cherries on a silver plate is set before them. We can almost hear the pipes of Pan as the lusty virgins cavort in the landscape knowing exactly how tempting they are.

Just as the ancient Harlequin held a mirror up to life then, Taylor's paintings seem to reflect aspects of social constructs now. After the Ball is Over depicts a lonely and very pregnant Harlequin, Dark Window suggests a cry for help from those locked in real or imagined dark places, and environmental concerns are addressed in Prophecy and Nostalgia. Yet, despite the heavy undercurrent of these and other works, I do believe the artist makes his art more for the sheer delight of drawing, painting and modelling rather then for a need to make politically correct or incorrect statements.

Taylor continues his reflections on life in his unique state terracotta sculptures. Here the 3D form is celebrated with attention to detail and sufficient understanding of anatomy to be able to exaggerate while remaining within the bounds of believability. Consider the caricatures of The CEO and The Shop Steward, the fictitious Cat Woman and the ferocious Denison of the Labyrinth, all own a sense of truth. And I do admire the exhibit Self Portrait that shows a hunched, heavily robed figure with a hollow opening where the face should be. It reminds us that we all wear a multitude of masks as we go through life, placing us in danger of losing the 'self' with each projection.

Then to remind us life, like the Harlequin, is form of 'theatre' the artist offers Remnants of a forgotten Performance consisting of cracked glazed masks of comedy and tragedy. And the smoothly glazed terracotta profile of a sleeping girl in Day Dreamer reminds us it's all an illusion, one created by fine works of art.

These painted and sculpted figures are a celebration of life, art and anatomy as the artist exaggerates the human form with Renaissance gusto. Do see the show, enjoy the feast of beauty and well honed artistic skills.