In Lorin Davies' uncomplicated drawing Two Books (1997), Conrad's Heart of Darkness and the London A-Z sit side-by-side, their contained journeys of discovery and necessity, gently inferring upon each other.   Close by the lush green moss into which Barbara Nemitz has stitched bright organic forms invisibly grows, pulling at the stitches and bending them to its own internal rhythms.

This exhibition of works from the last half dozen years from Glasgow, London, Berlin, Cardiff, Aberdeen, New York and Dundee, all share a rather unassuming presence, a delicate modesty and an inherent ability to reach beyond their mere materiality through small moments of narrative, poetry or projection.   By means of a refinement of cultural reference or a slightness of touch, the works draw upon the silent complexities of language strata, growth patterns and phenomenological encounter to pause mid-translation, in a state of generous potential.

In Emily Jo Sargent's painting Coney Island in the Snow (2004) the sun is amount to emerge from behind a cloud and begin to melt the snow covered beach, and in the distance a tiny pier stands unmoved, a redundant conduit between the land and the vast ocean.   The human inscription onto the landscape in Andrew Black's A Modest Proposal to Clothe Mt. Snowdon in Daffodils (2001) is imbued with far more bathos.   A just-sufficient digital montage collides these two clichés of Welshness and in so doing gently undermines the desire to understand national identity through excessive celebratory gestures.   The watercolour landscape that forms the backdrop for Katy Dove's animated work Melodia (2002) is by the artist's grandfather.   Amorphous hand-coloured shapes are elegantly choreographed to dance across this stage, coming together to begin to suggest fantastical birds or exotic flowers, and then simply drifting apart having stopped a moment short of compromising their abstract nature.