Newspeak: British Art Now: Part 2- Galleries 1 to 3

It wasn't a promising start.

The first gallery contained the worst combination - art I neither understood nor liked. That's not to say that others can't appreciate a piece of hanging cellophane, a lot of clingfilm covered in baby oil and paint or a torn tent-like sack of sugar paper. I'm sure they can. I can't see it myself though and the opaque descriptions in the guide didn't help, featuring such illuminating phrasing as "bridges the experience of tangible matter with the intimacy of memory" and "simultaneously monumental and flaccid. As I struggled to make something of these works by Karla Black, I was concerned for what was yet to come but gallery number two was more to my liking.

Here two artists were represented: a painter -  Hurvin Anderson - and a sculptor - Daniel Silver. Anderson's paintings showed a fine grasp of the human figure and of composition. I was particularly taken by an untitled night scene which captured perfectly the sense of a dead night under an empty black sky, completely void of stars. Silver's work was interesting for its juxtaposition of classical figures with odd plinths and re-carved or replaced sections. It left me a little unmoved but was well done.

Gallery three was an eclectic selection from Steven Claydon, Matthew Darbyshire, and Scott King. I quite liked all of it. Claydon's pieces included an incongruous selection of illuminated objects and his screen with vaguely disturbing animal forms (with the decidedly odd title "The Thingliness of Things (Potatoes In The Cellar)). Scott King's sole entry was a portrait of Cher resembling the well-known and iconic image of Che Guevera. Matthew Darbyshire's two piece were bright and garish but oddly appealing for their random composition with pieces of coloured glasswear in a cabinet and a selection of items on a carpet.

Three galleries down and two of them had been full of things I liked. It was, after all, a good start.