THE Green on Red Gallery is a small exhibition space, at times recently I have wondered if this is increasingly reflected in the kind off work shown there. This particular exhibition runs to type the works are small, style conscious, allusive and slightly twee. They are the visual equivalent to a certain kind of off handedly clever, cryptic and short winded verse which you often find in contemporary literary journals.

A statement from the artist says, in effect, that part of the exhibition was influenced by a spell in Italy, seeing classical and other remains there, while the rest largely reflects the impact of modern machinery. Roughly half of the works are in black and white, and in that now familiar quasi cartoonish, blunt angled, deliberately primitive manner which probably derives from Philip Guston's last period. The others are almost uniformly in red, but a graduated red, with spidery lines and motifs often architectural emerging from the glow. There also seems to be some debt to Leonardo's notebooks, particularly in the "machine" drawings.

It is all well done, of course, but the almost peripheral approach and a certain intellectual coyness and gamesmanship rather get in the way off any direct response. As is fashionable at the moment, the artist is wearing her sophistication on her sleeve, teasing and sidling about her subject matter instead of confronting it. Predictably, the imagery remains suggestive and tentative rather than realised.