This exhibition, very ably curated by Katie Major, presents for our contemplation, works that examine different approaches to painting non-representational abstractions. Without needing to address nature with verisimilitude, the artists are free to examine the properties of their medium. Indeed these works are about mind, colour and the viscosity of paint.

Jeremy Kirwan-Ward's large works play with hue and their temperature. The untitled triptych that faces us on entry offers measured stripes of rich colour while on the wall to the right, three panels of equal size are washed in different tints; one warm, one neutral, one cool. These horizontal bands produce a fluid movement, gentle and slow and soothingly hypnotic.

A more active rhythm is seen in the exciting works by Lisa Wolfgramm. Lively rich colours activate the surface of her large canvases with different visual tempos; #30 suggests a gentle undulation in soft blue while #31 offers the exciting vibrancy of red. Turing from one to the other, walking back and forth to better see the intricacy of the brush work, is like dancing to the music of the colour.

Paul Uhlmann's bold use of blood red and lurid green pays homage to the artist Grunewald, who produced highly emotive scenes in luminous colours. Uhlmann translates the gore and glory of the 15th century artist's Isenheim Altarpiece into the contemporary idiom. Layers of transparent medium saturate the surface in glowing colour that invites and excites the eye.

The mesmerizing linear patterns in black, white, red and combinations of these colours by Emma Langridge appear at first to be precise and pointless. But close inspection reveals inexactitude and imperfections that sing of the human element. Tiny fuzzy edges are discovered in Langridge's perfectly calculated designs, they provide relief to the eye and mind while inviting us to consider the making of the pattern more than the finished art object.

Sine Macpherson's Lexical Spectrum SAPOD 'illustrates' references to colour related words found in various 'English' dictionaries. Her work relates to the beauty of both the spectrum and the written word. The grid is devised according to the number of pages in pocket dictionaries and each carefully placed bar of colour corresponds to the 'colour word' found on that page. White bars translate as non-chromatic pages, those without words of colour. Stand back and see how colourful our language is then come close and delight in the hand of the artist manipulating her medium.

Jon Tarry's two fascinating exhibits provide visual pleasure and mental engagement. His horizontal Fault Line has the purity of the painted surface purposely disrupted with small imperfections. They are like anchors in a sea of blue. Meanwhile In Fold, two rectangular fields of opaque and transparent acrylic on curved surfaces, suggests an architectural presence in that it calls to mind some small segment of a building or isolated aspects of a cityscape.

Each artist responds to the medium of paint and the making of a painting according to their own muse. One has to take the time to become involved with the patterns, colours and textures in these works. They represent the structural components of every style found within the artform. Don't look for pictures, see the painting. Congratulations to each participant, PAINT is an excellent exhibition.