Travelling without moving is the name of the best-selling funk album in history released by the English band Jamiroquai in 1996 and, if you are of a certain vintage, tracks such as Virtual Insanity, Cosmic Girl and Alright are deeply etched into your memory.

Not wishing to revive the controversy over band front-man Jay Kay's green credentials while flaunting his purple Lamborghini, I could find no overt correspondences between Jamiroquai's famous essay in funky acid jazz and Damon Kowarsky's earnestly executed etchings set within a tactile sea of aquatint.

Kowarsky, at least before COVID, was a travelling man who was constantly on the move and who closely observed, in this exhibition, Jodhpur, Xian, Lyon, Angkor Wat, Ho Chi Minh City and Central Park, among many other places around the globe.

He is a skilled draftsman and a keen observer of exotic cities, people and patterns of human behaviour.

He also keeps extensive sketchbooks in places he visits and these he selectively translates into etchings.

The etchings in this exhibition, all produced between 2018 and 2021, are united through palette - a faded green or a rusty red - and a certain sameness of technique with picked out precise detail with short fine lines and carefully controlled passages of aquatint.

As an artist he employs eccentric perspectival angles from which he views his subjects.

It is frequently a bird's-eye view or the "Peeping Tom" perspective of an intrusive drone, but at times objects are also seen from below

In places, Kowarsky's exhibition is laced with dry humour as in Europa, 2021, where the reclining amorous couple literally holds a bull by the horns, invoking the myth of Europa and the bull.

On other occasions, the artist is a moralist.

The etching The diameter of the bomb, 2019, is a complex image that appears like a triptych.

The object shown is the remnants of a bomb that is linked to the verse of Yehuda Amichai where the final diameter of a bomb is "howl of orphans that reaches up to the throne of God and beyond, making a circle with no end and no God".

Two of the most accomplished etchings at the exhibition are Jodhpur II, 2019, and Amber palace, 2021, both etchings with aquatint from two copper plates.

Both prints capture with exactitude two famous architectural sites in Rajasthan, now shown empty of inhabitants or tourists.

The deserted urbanscapes are devoid of people but populated by the circling birds - slightly eerie, tangible but somehow unreal.

Many of Kowarsky's etchings touch on this sense of the uncanny where boundaries between buildings and foliage appear eroded, where nudity seems disturbed by the voyeuristic gaze and the depicted reality carries the echo of some sort of dreamscape.

Kowarsky has the unusual ability to create refined, beautifully crafted prints that are initially seductive in their realism but that are also open to other interpretations that do not conveniently fit with our anticipations.

The attractive, almost tactile surfaces seem to conceal other realities and we are drawn into a game of decoding his imagery where, as viewers, we are suspended between observing a known reality while at the same time sensing a mysterious truth beyond it.

There is a certain disjunction in the world of his etchings, a possible parallel with Jamiroquai's lyrics in Virtual Insanity, "And I'm giving all my love to this world/ Only to be told I can't see, I can't breathe. No more will we be."