As well as McDougall herself, this included internationally famous artists and illustrators Leah-Ellen Heming, Emma Dibben, Tom Plant and Bjorn Lie; up and coming artists Kate Evans and Marjorie Dumortier; well loved local painters Rachel Milne, Rebecca Howard; jewellery by Bridgid Heming; plus conceptual artist Trish Lock.

Coming in from the cold, the first piece that I spotted was Lock's Angels and Guardians. Protruding from the wall like reliefs, the five white shrouded faces are expressionless and obscured by folds. In turns unnerving and also coldly peaceful, you are left wondering whether these children are ghosts or death masks.

Next up is Rachel Milne, whose paintings of Venice are full of bold brush strokes. The flatness of her colour palette brilliantly conveys the Mediterranean sunlight, its subtle light and shade. The focus here is not on detail but to quickly to capture the essence of a scene.

Locations seen with the mind's eye characterise Rebecca Howard's work. She paints real places but, using her memory of the area, allows perspectives to twist and colours to become amplified, accentuating some features and simplify others to make highly personal land and cityscapes.

The unique pieces of handmade jewellery by Bridgid Heming are striking, with materials drawn from across the globe: recycled glass from West Africa, cast bronze pendants from Afghanistan, beads from India and black lava from Java.

There is a pleasing looseness to the composition of Marjorie Dumortier's black and white etchings. Her choice to feature tropical animals without colour heightens the importance of patterns and markings.

Childlike forms and perspectives are splashed with colour, and circled with crayons or chalk

In the next room, Emma Dibben's illustrations of fruit, vegetables, and fish are spattered with paint and finger prints. Complementary and sharply contrasting colours, textures and light are playfully used bringing the subjects vividly to life.

Kate Evans has clearly laboured over her work to give it an air of spontaneity. Childlike forms and perspectives are splashed with colour, and circled with crayons or chalk. The sparseness of her compositions, a few flowers in a vase, is embellished by a keen attention to texture.

Tom Plant's charming Victoriana style shows precarious and unfeasible anthropomorphic contraptions being ridden by po-faced gentry. The lone work on display today is no less surreal; a steam-powered duck paddles down a river while a rake woos a rotund and blushing heiress.

Leah-Ellen Heming's canvases lampoon the language of advertisements. Her book covers for seedy thrillers or romances are full of cheeky puns like My Sister's Habit, the love story between two nuns in which the book boasts: 'One had morals the other has nun.' There is also a poster for an Avon Wildlife Safari in which the most exciting creatures include rats and pigeons.

Always intelligent and topical, Abigail McDougall's new work includes a painting of the recent Bristol riots, and three new pieces based on the decommissioning of NASA's Space Shuttle. These pieces borrow from old movie posters to explore gender roles and the impermanence of human endeavour.

A particular favourite is Bjorn Lie, whose Cactus Landscape seems to be borrowing from both old spaghetti western and sci-fi films. The cowboy, looking about to be ambushed, wanders alone through eerie alien terrain.

The exhibition continues until 29 September, with the possibility of more temporary shows in the future.