This is a substantial body of work, more than 120 pieces in all, made by 37 members of the Oxford Printmakers, with subject matter as diverse as the range of printing techniques used.

In her etchings, Flora McLachlan uses the deep mysterious blacks and glowing whites to capture the essence of things seen or imagined at night or twilight. In Foxfire, the silhouette of a fleeing fox is framed by dark trees and the ghostly heads of cow-parsley.

Peter Lawrence uses wood engraving to create abstract deconstructions of his subject matter in A Cottage in Wales, and Time and Space. By contrast, in Five for England: Plan of the National Gallery, London, Level 3, he is more literal. Here he turns a gallery floor plan into a quasi-board game, the sequence of numbers, 1 to 5 indicating the direction of intended travel surrounded by a complex and witty series of images of his view of quintessential Englishness, These include an engraving of a woman inspired by the Kelmscott Press, a cat after Edward Bawden, facsimiles of Charlie Chaplin and Wallace and Gromit and St Ives Harbour as depicted by the primitive artist Alfred Wallis. And for good measure the unmistakable lion from the Royal crest.

Catriona Brodribb’s body of work is based on Didcot power-station. In her screen-print Didcot Power Station II, a scorched burnt sienna field leads the eye to a fortress-like encampment: the power station. Didcot Power Station and Didcot Power Station VI, also screen-prints are in soft greys that give it a romantic feel while retaining its industrial edge. In her wood cut of Didcot IV B (above) she deconstructs three of those iconic towers as they belch out steam, creating a powerful stark image that obscures all around it.

The show can be seen Monday to Saturday until March 26.