A WEALTH of charming `colours and tasteful classical quotations could easily' provide a distraction from the content of Felicity Clear's airy but immense prints and mixed media works on paper.

Clear seems to construct a way of looking at the assumptions of classical science, and mapping these onto more contemporary concerns by alloying a hint of Max Ernst or perhaps Terry Gilliam with the soothing colours of fashionable dilapidation.

But "seems" is a key word here, for Clear's art is full of tip offs whose explicitness is somehow undermined by the visual evidence. Titles like Popper's World, Chaos and Order and Chaos, seem transparent enough when it comes to ring fencing a subject matter, but their relationship with images which border on the cheery remains anxious. A large triptych, Keeping Away the Tigers, in which found images of tigers, dancers and mythological figures, are threatened by the inky blueness of the imagined evil, has all the ingredients of significance but remains unresolved.

Things turn out far better for the artist in some of the simpler pieces, such as Bell Jar, in which an ecosystem sealed within a schematic representation of the scientific apparatus appears, contrary to expectations, successfully balanced The exception that proves the rule, however, is Natural History, a long tableau, in which the strong outlines of human forms sprawl resiliently across faded pastel of glowing pink. Here, Clear lets her reticence slip away, to create a loud parody of a heroic memorial, covering her plinth with Trajan letters spelling out a formerly invisible history of science, in which all the actors are women.