RAMON Iriondo has been from the evidence of a photocopied leaflet, fixed at the entrance to his exhibition at the Temple Bar Gallery, adept at carving a niche for himself in the Irish art world. Having "cold called" on the Dublin art scene in 1994, he has since exhibited twice, and found not one, but two studios.

Unfortunately, little of the panache with which the Basque artist seems to have approached the business of settling in is evident in these sackcloth, patchwork paintings, inspired by artistic ferments which have long since passed into history.

Iriondo allows the variety of textures and patterns, found in his raw material, to guide the progress of the work, as he jams together contrasting naps and weaves, leaving commercial stamps and markings to betray the origins of his fabrics.

References to Kenya, Argentina and Cuba appear in this manner and it might be possible to read these brown tags as restrained references to colonisation and the exploitation of indigenous peoples. In the end, however, the work is listless enough to make such an approach seem ludicrously over attentive.