For more than 20 years these like-minded painters have met to share ideas. The work exhibited at the North Wall has a cohesive, recognisable style, the emphasis being on composition, line and shape, on interpretation rather than on recording. It is interesting to contrast two paintings by Elise Lynch: in the early Montmartre II people stroll past a cafe in this life-like scene while in her later painting she reduces her Cornfields to geometric shapes.

Another representational picture, by Heather King, depicts a contemplative plump lady gazing out to sea protected by two patterned sunshades. But in Prue Pardue’s impersonal Fat Lady it is the design and shape of the dress and the wallpaper that are emphasised, and it is the shocking viridian trunks in Turquoise trees, reminding one of striking colours in Hockney’s latest northern landscapes. She believes identification of place is less important than the composition itself. Tonal design is key to Itsuko Doherty’s simple, effective Roses (right) with nothing to detract from the central image. In her Moroccan woman, shades of olive green dominate, while a tiny window emphasises the horizontal and vertical lines dividing the surface into sections.

Michael Brownson was an architect which explains his personal interpretation of Highland Castle, white against dark hills; in his Welsh Farm 1 the diagrammatic stone walls, the gloomy sky and the heavy mountains contribute to the loneliness of the scene. In another castle, this time by Dirk Pretorius, the pastel shades of abandoned Lindisfarne Castle are a far cry from the blue African skies he left behind, while Chartres Cathedral suggests its two distinctive towers seen from far away.

In order to present each artist as a member of a group the pictures are intermingled; the effect is harmonious and satisfying. The show continues until March 9.