The serpentine edging of grass round the patio and the soft blooms of the hellebores lend a pastoral setting to this exhibition. Its title comes, albeit unwittingly, at a timely moment when the Turrill Garden and library are threatened with a closure that will deprive the community of an enriching amenity.

Emma Ablitt prefers abstract titles leaving the timeless quality of stone to speak for itself. The intrinsic beauty of Inseparable, made of fossilised shells, displays alternate layers of blue-grey with warm pink. Her sculptures are maternal and compassionate like Baboushka (above left), the kindly Russian grandmother, enveloping a child in her arms. Ablitt demonstrates her respect for the material by letting the vein of crystal, embedded in the limestone, suggest a scarf around the neck of the old woman. With no beginning and no end, spirals have a profound meaning for Anne Boning. Her work also stresses motherhood. New Life displays a fecund figure whose tiny spiral of a head rests above her rounded abdomen with a bigger spiral below suggesting her womb. The head of the free-standing figure of Caterina is wrapped around with folds of stone which, in turn, rests on more spirals, the whole conveying continuous movement.

Ann-Margreth Bohl’s installation Totem echoes the curves that pervade this exhibition; above the swirls of the column hangs a swinging sphere that gives a lie to the heaviness of the stone. Origami has the edgy feeling of folded paper with its sharp edges that convey a feeling of lightness to the Bath stone. Contemplative Man (above), with his head resting in a thoughtful position, is dictated by the form of the stone. How apt that this show comes at a time when the Royal Academy is holding an exhibition of modern sculpture that alerts one to, what the Guardian calls, a “renaissance in the artform”. Until April 2. Opening hours: Monday, Friday 9.30am-5.30pm, Tuesday, Thursday 9.30am-7pm, Saturday 9am-4.30pm