Geoffrey Robinson

> The Grapevine Gallery, Unthank Road, Norwich

Geoffrey Robinson is an artist with two distinctly different stylistic approaches; flamboyantly coloured still-life paintings featuring flowers and people and more considered cubist-influenced studies of the relationships between objects.

The latter style of works is uncomplicated and unpretentious, consisting of jugs, bottles and plates enhanced by Robinson's coolly analytical division of the picture plane using areas of matt colour.

I particularly liked Big Cheese. The subject is a simple pencil outline, but a highly mimetic bone-handled cheese knife sporting remnants of cheese augments its presence.

The titles Robinson gives some of

his pieces imbues them with a speculative narrative.

In Picasso's Dagger, pencil-marked outlines of objects are constructed in diagrammatic layers with the exception of a plate of fish, whose beautifully worked up iridescent scales are heavily textured, and a solitary apple that purposefully spans the layers.

I was less enamoured with his colourist approach, observing that the objects in The French Jug merely provide a structure in which the ultra-vivid hues can exist.

And White Still Life - Woman with Pail just exhibits too many influences; for in addition to the mandatory mandolin in the foreground and pencil outlines of overlapping objects, it features a ludicrously small lady and a dead bird.

Upstairs you can still enjoy works by Meredith Namsoo, whose subtle abstract watercolour pieces are a joy to behold. Unafraid of leaving bare canvas areas, in Flotsam Namsoo places just enough to create interest, proving she is an artist who understands the importance of not overworking a piece.

And the sensitively introduced colour- wash areas of Connection amalgamate with the paper segments to create an interesting complexity.

t Exhibition continues until October 30.