Synergies is, according to the accompanying exhibition statement, an investigation of "the in-between spaces that reside beneath our tangible reality".

The three artists are each re-configuring "the real or non-real in an attempt to restore equilibrium to the superabundance that invariably surrounds us". Each artist does this in highly individual pictorial languages. While personal idiosyncrasies dominate, the exploration of the "spaces in between" unites the three and gives conceptual and thematic unity to the whole.

Beverley Southcott explores the reality behind the image in her Re-Looking - Energy Matters series. She uses the device of the veil in exemplary fashion, in particular Re-Looking - Energy Matters Four (Cat. 1) and Re-Looking – Energy Matters One (Cat. 2). In the former, the veil imbues a seductively mysterious atmosphere in which fluid vertical bands are dispersed over the pictorial space. The verticality is interrupted by the insertion in the right-hand corner of the image of an area constituted by a combination of diagonal and vertical bands that here move back into the space.

These visually subvert the overall downward thrust and move the viewer back into the space behind the "veils". There is a sense of incorporeality in Southcott's use of veils, a character reinforced by her use of a softly-infused pastel palette of lemon, greens and blues. In Re-Looking – Energy Matters One (Cat. 2), the veiling device is clearly articulated through being placed in front of a dense black ground.

The frontal placement, plus the striated surfaces of the narrow vertical bands, insinuate possibilities of disclosure of unstated questions. This is further reinforced by the inclusion of an image that seems to sit underneath the surface, an inchoate form (again) in the right-hand corner of the overall image inviting imaginative response from the viewer. Southcott's use of the veil is visually and thematically clever. Schopenhauer's Veil of Maya comes to mind and the notion of separating the self from the self of others is not out of place in this resolved body of work. All four of Southcott's works present an overriding abstract character but one that intimates another reality co-existing within each image. The sense of immanence gives these works a conceptual edge that is matched by the visual edginess and contrasts between abstraction and reality, imagination and rational thought.

Jenn Brazier's selection from her series Secret Garden broadly looks at the natural world through the distilled gaze of Jung's "collective unconscious". Her landscapes hold a dreamlike appearance, an unreality couched in very real images of places where human presence is articulated by its absence. This is especially seen in Cat's 5 and 7. In these a densely lush "garden" presents as a wild place, unkempt and uncontrolled. This is however relieved by open space at the front of the picture plane, bare and trampled and bathed in an almost artificial light that highlights previous human activity while simultaneously allowing for definitive definition of each of the plants that occupy most of the picture plane.

There is also present an intimation of something beyond the seemingly impenetrable floral wall, maybe something more civic than sylvan. This is also seen in Cat. 7, although the lower horizon line occasioned by the inclusion of plants related to littoral topographies implies a beach beyond the image. Cat. 6 (The Collective Unconscious) is an enthralling image. It is simultaneously about nothing and everything and its glowing presence is a paean to the powers of the creative imagination. Brazier's final images (Cat's 8 and 9) of the silhouetted female form against, in the former, a rock wall, and, in the latter, an illuminated tree, are eloquent transcriptions of the creative muse, unseen but present in all of us.

Will Nolan's The Chair (Cat.10) and The Garden (Cat.11) are marvellous images with something of the sting of Russian constructivist photography and the intellectual and socio-political demeanour (and humour) of Dada and surrealism. The "chair" of the title is (not quite) constructed by overlaid images reminiscent of Dadaist collages. The overlays are essentially abstract forms that appear to be parts of a once-unified whole but which the artist has deconstructed to reconstruct into a new image that holds its own meaning and whose debt to its predecessor(s) is lost.

The "chair", although hidden, is nevertheless partially visible, and unless I am mistaken it is the famous Lewis Morley image of the notorious Christine Keeler sitting legs akimbo, leaning on the back of a modernist chair. Nolan's reconstructed reality is (again) clever in its interrogation of what constitutes "reality" and in its allusive visual inclusions, a nod to photography's history.

Elizabeth McCrystal's (I'm) Wrapped (Up) In You is a meditation on our "throw-away society". It is clever, funny and incisive and includes some really wonderful images that not only underscore her thematic premise but offer powerfully insistent visual images replete with real aesthetic punch. Along with the pictorial works there are two sculptural pieces. House of Cards (Cat. 5) is a floor piece consisting of large reproductions of playing cards with images of 5, 10, 20, 50 and 100 dollar currency notes on the back of the normal suits of playing cards. These are stacked to form the "house" of the title, and the possibility of imminent collapse allied with the overall thematic thrust of the exhibition provides wry comment on the way that our society gambles with the environment.

The other sculpture Flat-pack love (Cat. 7) is a pile of cardboard boxes. Each has the name and age of the "person" inside stamped on the outside and the pile is waiting to be forwarded to whoever has purchased them. This is perhaps less a comment on contemporary modes of meeting people than a further riposte at the indignities that accompany the 'throw-away society".

The wall pieces for me constitute a tour de force of the power of an image to instil possibilities for change - to make people aware of issues in highly imaginative and singularly impressive ways. Clean Drinking Water (Cat. 6) and Throwaway Society (Cat.8) are both really strong images whose description denies the intensity of their impact. The former consists of four plastic cups placed in a strict linear arrangement against a beautiful black ground, encased in an equally black frame. Each contains something that looks unhealthy. Beyond their superficial appearance they hold a portentous symbol of the dangers inherent in the ways society deals with its dross and the removal of that dross. They stand out like the elements in a 17th-century Spanish still-life (and black was integral to the aesthetics of this genre) – each holding its autonomy and each contributing to the strength of the conceptual and aesthetic impulse of the overall work. Cat. 8 (Throwaway Society) is a great picture, its overall redness (including the frame) a glorious reference to luxury. The motif of the garbage bag upgraded to the level of a branded handbag is both funny and damning, and exquisitely attractive. The overall presentation of this exhibition is very considered and a credit to the artist.

Both exhibitions absolutely require a visit.