No doubt about it, POST is a mixed bag of styles, media and artforms which speaks well for the art school. They're not turning out a collection of clones, although one can recognize influences from certain teachers in a few exhibits. And it's nice to see a renewed interest in the surface of the art object.

Many of the artists appear to have investigated the properties of their 2D medium and employ texture and transparency or opacity to its full extent. This is noted not only in the use of paint but in exhibits of charcoal, pastel, even collage. For example, the surface of Nicolle Desmarchelier's series Breaking Skin intrigues and I like the way Mona Ketelsen investigates the visual effects of enamel on plastic or board in her series Cross-Section and Under the Microscope.

Thomas Wearne handles the oil medium well in his Car Park images. He shows more confidence when painting the rigid patterns of the parking stations then with the fluid figures of his People series, although they have their own charm. Meanwhile the large black and white charcoal drawings Staircase and Arrow display a sure ability with the medium and provide satisfying compositions.

Bronwen Kamasz offers an amusing (at first sight) construction How did you wind up in here? that comments on genetic engineering. Old packing crates, stencilled with comments from our electronic toy-cum-science fiction/fact lifestyle, are stacked haphazardly in support of a 'mouse maze'. Our approach activates a clicking sound that can be interpreted as time passing or as something running through the maze. I looked, it's not mice in the maze, it's something else, something modified perhaps. That's when amusement is replaced with serious thought.

Two and three dimensional works of acrylic on wood by Menga Tokuma-Cull caught my eye at each turn. Attention to detail in the making, strong use of colour and good presentation suggest the artist owns a commitment to art and respect for the viewer. I particularly appreciate the colourful City 1 and City 2, which can be seen as either a diptych or as two separate works each satisfying in its own right. City 1 involves a horizontal ground of broad strokes of thick rich pigment. Sections of doweling protrude from this surface at measured intervals, each supporting a vertical, smooth wooden slat painted in bright colour. Ideas of urban construction as either encroaching on, or integrating with the landscape come to mind. This is reinforced by City 2 which shows similar vertical coloured strips connecting, completely eliminating the 'ground'. The choice is ours.

Upstairs Brown's tower-temple occupies two rooms to overflowing. This is a tour de force of drawing, painting, textiles, printmaking and ceramics. The exhibits employ symbolism plucked from esoteric ideologies that cover nature, sexuality and religiosity. In some cases the metaphor is transparent, in others too ambiguous, either way investigation of the concept is difficult. We are assaulted with imagery, most of it good, most of it red. Brown can draw and paint well and her textile work is fine, but her concept would be so much better appreciated if room for contemplation was allowed. Sometimes less is more.