There are big risks for an artist who suddenly moves to an entirely new way of working, but such radical ruptures can be the best way forward. For Ronnie Hughes, a move from semi-representational, slightly nostalgic oil painting to highly abstracted, almost techno images in acrylic polymer, has paid off and produced work with a vivid sense of quantum urgency.

In his last Rubicon show, Hughes's paintings featured sketchy hints of the urban macro-environment. In the new work, however, Hughes has settled on one small unit of the contemporary environment, a pill-like lozenge shape, replayed in a myriad of styles and colours. The artist himself says that these might be anything from surfboards, Prozac, and remote control buttons to "the stuff that appears when you stick your fingers in your eyes".

There are still identifiable elements of Hughes's older style. His characteristic cross-fades of layer upon layer of ghostly images are still present. As another painter of small things, Mark Francis discovered, when elementary particles are subject to close attention, painterly and narrative concerns can blur very productively.