As far as I can see, the reality of Illusion is firmly a case of what you see is what you get - damn fine craftwork.

One assumes the theme was to kick start thoughts on deception, delusions or dreams but if that's the case many of the artists preferred a lateral approach by defining the reality of fantasy, reverie and imagination. Forget what theory or mind-set guided these artists, just look at the skills perfected by each and delight in the objects the have produced.

Peters and Jones cater to the illusion we all have, that being if we decorate our clothes with these exquisite ornaments we will immediately enhance our outward appearance and cause all rivals to melt away. Well short of plastic surgery nothing will help me but one can understand how anyone would desire these excellent rings, broaches and neckpieces. The trompe l'oeil effect mastered by Jones and the real spatial play by Peters make these works truly extraordinary.

Those glossy ceramic ladies by Lees and funky works by Dawson are a delight to behold. Works by Lees are charming sculptures that prove to be functional as well. Her teapots and bowls on pedestals reference stories or dreams but more than that, they speak of joyful things. Dawson's coil built clay vessels in rich russet tones are etched with a linear reference to elegant Greek urns to create a charming dichotomy as well as the obvious metaphor. Well done both of you.

Colourful fun and fantasy is encouraged in clay works by Robertson and McKenna. Robertson's tiny water nymphs astride ocean inspired coral-like forms engage us with their texture and hue. It was all I could do to refrain from touching. Meanwhile McKenna's blissful summer holiday destination is the perfect location for all future polychrome day-dreams. McKenna shifts tack with the poignant The Farewell, which I interpreted as a sculptured reference to those refugees, their illusions and reality, that fill the media these days.

Exhibits by Manson and Gallop provide a different facet of interest as they manifest how the delicacy of clay can prove as satisfying as its robust incarnations. Manson presents textural husks resting on smooth shelves atop pock-marked squares. One assumes each level is by a different material (porcelain, clay, earthenware) but all are in the softest of pink tinged hue. I have no idea what they are intended to be, except beautiful ceramic works. Gallop's series Domestic Harmony tells a simpler story. In Wedgwood blue and white, teacups are sliced in half and sit atop a 'box' that could hold either happy memories or apologetic chocolates. Either way, the suggestion is harmony on the home front is more complex then it seems.

This is a fine exhibition one that should be seen by anyone who enjoys good craftsmanship and honest statements in art.