Step out of your grown-up shoes before walking into the gallery as this delightful exhibition of large, colourful paintings calls to the child within. Waters' work depicts a world of good clean fun, as his expressively drawn figures play sport, mess about in boats, or take a walk through a multicoloured mosaic landscape.

The clean, bright colour is what hits you first. Here you'll find young folk in board shorts, lairy shirts and sunnies, a golfer giving it his best shot, a collection of feet, a flotilla of boats, even a brass band. The artist exaggerates his figures for amusement sake which adds to the 'life's a holiday' sense of the exhibits. But, if you look beyond the cheerful scenes and inspect certain aspects of some images, you'll note how these charming works reveal the artist's serious approach to painting, which increases our admiration of his skill.

I do appreciate the graphic quality of Waters' drawing. The black contour lines and high key colours enhance his narratives. In Puppy Love a trio of lads sit by a fence with their three large dogs. The composition is well grounded as it maintains a sense of stability despite the image being quite active with its collection of arms and legs, tails and paws. The dogs are restless and the boys mute, perhaps they're reflecting on just how good life is. But they won't linger long, we're sure the day's excitement will recommence as soon as we turn away.

Perhaps they'll grab surfboards and sit astride them cooling their heels out beyond the breakers as seen in Tangles, a colourful underwater view of legs dangling from boards. As you look into the aquatic world you'll find a kaleidoscope of rich colours and textures that suggest a reef in all its grandeur. The lower section of this work is highly satisfying for its treatment of the medium. The painterly approach seen here is much appreciated in other exhibits too, works such as Energy Plus and Footy Fever. These paintings not only offer a narrative, they capture the sense of energy and atmosphere of the scene. In doing so these exhibits take the viewer beyond looking at the picture to invite an investigation of the painting.

I enjoyed discovering the differences in Waters' two painting styles by comparing Don't Worry with Who Cares. Both exhibits depict a figure plunging into water. Don't Worry has the diver spread-eagled above the water a moment before bringing his arms together to safely cleave the surface of the graphically depicted water. It is a fine work full of movement as the well articulated water seems to rush toward the diver. Meanwhile Who Cares offers a very different experience as it adds the element of total abandonment to the same subject. Here the figure is suspended in mid-air over a painterly surface of mottled colour, texture, suggested shapes and blurred atmosphere. This is no 'dive', it's a full on bombie or belly flop into the unknown. Neither painting can be faulted but the latter offers more to look at and think about while enjoying the image.

Then there is Landslip, to my eyes the best exhibit in the show. Here the artist transforms his bold black contour lines into calligraphic marks that suggest and sketch rocks and trees on a hillside. The colours are softer and seem to drift into our mind which defines areas of land forms or foliage. Here is a place that can not be named, as it is will be a different remembered landscape for each viewer.

A highly enjoyable exhibition, catch it if you can as you're sure to find a little piece of your own past antics in at least one of the works.