NORMAN Ackroyd's remarkable new suite of monochrome etchings, Saltburn to Flamborough, capture the spirit of place in a manner few visitors to this exhibition will see for themselves.

Viewed from the sea, rolling cliffs dramatised by occasional castle ruins, gulls spiralling in flight and patches of blinding sunlight on water, are seen as if through a haze.

The atmospheric soft-edged treatment displays mastery of technique, juxtaposing the dark solid permanence of the land with the fleeting moment of the visual experience.

Ackroyd's etchings of inland locations offer a similar poetic approach, with highly controlled tonal variation and tiniest details in landscapes as varied as the impressive scale of Autumn Morning in Bransdale and distant luminous stillness of Sandsend under Mulgrove.

Among the regular gallery artists, John Thornton offers icy mixed media studies of the sea which contrast with the sunlit warmth of still lifes and buildings by Susan Wilmot, while Jane Burnley's delicate colouring creates a shimmering effect in harmonies of tone in a sunset over moorland and fields of snow populated with tiny trees and shrubs.

There is wintry chill in David Winfield's snow scenes and turbulent weather effects in expressive paintings by Colin Salter. Ian McCulley reduces landscape to a near-abstract split between land and sky in multi-layered translucent images.

Other themes and treatment include Debbie Sutcliffe's elegant female nudes in white outline on block colour, and bold contorted figures in unusual angles by Richard Snowdon.

Beautifully observed studies of British birds in natural settings by Pam Grimwood are among works devoted to wildlife, at the opposite end of the illustration spectrum to Andrew Haslan's cartoon-like fox and hare and Jane Peart's amusing penguins.

The exhibition continues until the end of January.