THOUGH this exhibition is limited to a dozen paintings, it is consistent, intelligent and all of a piece. Aoife Harrington also limits herself to a few basic shapes or forms, the most obvious being a kind of elongated crescent which appears repeatedly, singly or in plural. When employed horizontally it looks rather like a shallow vessel, when vertical it suggests the blade of a scimitar, or perhaps a giant leaf standing on end.

The other motif is to divide the canvas into parallel layers, a device which is almost a commonplace but is handled with resource and variety. With this virtually minimalist vocabulary, the weight of the argument is thrown on the colour and on the vitality of the picture surface, and here too Aoife Harrington shows herself a dexterous craftsman and the possessor of genuine taste as well as a good technique. At times the shapes are veiled and misted over, at other moments they are sharply and even starkly outlined.

How far she can travel on this particular route can only be guessed; superficially, at least, it is rather a case of playing variations on a very basic number of given themes. There is, however, no feeling of repetition or contrivance, and the paintings have a sense of spontaneity as well as of being carefully thought out and executed.

Since Aoife Harrington is just 30, she looks like a painter to watch, and though she has been seen in various group exhibitions, this appears to be her first one woman show.