In past exhibitions, Mitchell has shown how skilled he is when painting realistic renditions of landscape. In this exhibition, the artist takes us around the world via interesting images that say as much about painting as they do about the place. The change in style is very much appreciated.

Mitchell presents environments familiar to the traveller who passes through dull airports, sees the city from high rise hotel windows or looks behind the projection of an ideal urbanscape. An empty ball court, construction sites or piles of rubble in a heap may not be tourist traps but they certainly captured the eye of this viewer. There is no gloom in these paintings of mundane subjects as the artist creates a sense of freshness with his clean crisp hues that suggest the air is breathable. This same sense of atmosphere is captured in the mist rolling in over Morning Towers in San Francisco, which dissipates to reveal Cable Car Lines overhead or an urban gaggle of Coloured Houses. In these and all the exhibits it's not so much the subject as the colour and composition that invites and intrigues.

The works here are a celebration of painting. This is immediately made clear as each image is held within a smaller segment of the overall canvas. The artist marks out his pictorial space with graphite pencil on the stretched canvas. He then paints within this freehand boundary leaving a border of bare canvas on all sides. The paint is allowed to bleed or drip beyond his 'picture window' to remind the viewer this is, first and foremost, paint on canvas. Subjects are selected for their design elements and to allow for the manipulation of pure colour in mostly monotone compositions. For example Airport Landscape transforms a boring section of an air terminal into an intriguing abstract composition in luminous greys. The exhibits are also about brushwork; laying down marks that suggest the subject sufficiently without hiding their own contribution to the painting. This is noted in Thames II where the scene emerges from the bold, well placed marks made by a square brush.

With this in mind we can better appreciate those paintings that present interior scenes of computer monitors set in front of a window, a familiar scene both at home or in a hotel. Terminal-Striped is a fascinating composition of reflections, in shades of white and blue. The diptych City AM/City PM suggests the truth of a business trip as it shows an exciting cityscape locked outside a window behind an open laptop. With less narrative but equal impact the two paintings Yellow Terminal and Green Terminal present a solid square monitor set against the vertical or horizontal line of a window frame. These can be interpreted as painted patterns with megabytes of RAM (Renewed Approach to Mondrian).

This is a challenging collection of work that takes the artist, and his viewer, into a new and more interesting aspect of landscape and painting. Well worth seeing.