SUZANNA Chan was represented in the recent Victor, Treacy Award exhibition in Kilkenny, where her weighty, implacably frontal paintings made a definite impression. Her Dublin exhibition is made up mainly of similar paintings, with some graphic works and a number of assemblage or quasi installation pieces.

She has come in the wake of the New Image painting of the 1980s and while her work is neither raw in execution nor, remotely Expressionist, it does tend to concentrate on one; large, uncompromising image to which the rest of the picture is subordinated. Where she differs radically from the New Image style is that her work is also rather formalised, with a very noticeable quasi geometric element, even an architectural one. The imagery itself; often involves a kind old massive, unfolding vulva shape which also suggests flower or vegetable life - here, I suspect, the influence of Georgia O'Keeffe and her giant vulva flowers.

In one case the central image is a receding human body with breasts and feet but no head; in another, Underneath, a seemingly web like abstract pattern turns out, on a second look, to be the bedsprings of a mattress viewed from below. In Polishing, bodily features are almost buried underneath thin washes' of paint, faintly a la Morris, Lows.

The quasi sculptural and asssemblage pieces add very little and in general are rather scrappy and poorly thought out, almost as if they had been included as an afterthought.

The paintings themselves, however, show Chan to be a fully formed artist with a firm, slightly aggressive, easily recognisable style, and one who promises well.