In the catalogue accompanying this exhibition, Gwen O'Dowd speaks of how the larger-scale paintings marked the culmination of her "Uaimh" series. As milestones, then, it is fitting that the Vangard has given over its main room to just three of them - a move which works brilliantly, as the paintings are allowed to live without any distractions. The imposing grandeur and presence of the cliff-faces which have so resolutely inspired the artist throughout the entire body of work, are therefore, all the easier to appreciate.

The constituent parts of the paintings are worked around a basic template of cliff walls, dark caverns and foaming ocean. The fact that O'Dowd is able to modify this template so that each painting is an individual, but is also faithful to the ethos of the series, is testament to resolve of her artistic vision. The arrangement is always harmonious with tensions and balances at work within what can sometimes initially - and misleadingly - appear as passive compositions. But the real seducer is the versatility of the surfaces, operating simultaneously as a convincing impression of the living rock and as a seductive rendering of ocean depths.

While these paintings are clearly evocative of the natural environment, the artist invests a sense of mystery which invites alternative subtexts. The compulsion to stare into the deep dark recesses of the caves is hard to resist, and it is not unreasonable to imagine the contemplation of this space as a metaphor for exploring the subconscious psyche. Furthermore, the heightened natural oxides and verdigris colours lend an almost mythical otherworldly quality.

Runs until July 21st