The quartet of drawings are imbued with a perceptible lightness. A discriminating choice of subjects executed with very fine lines, which make use of contrasts and quirky juxtapositions - as when rocks meet furry-looking vegetation or when birds rotate around each other against a background of shelving - but contrasts that come across as pleasingly singular rather than cacophonous. For we observe a subtle fingertip sensuousness that teases out details when drawing coiffures bereft of faces, and arms and hands coquettishly turned.

Jasper Sebastian Stürup's drawings have the mark of a certain self-conscious elegance. He is aware that delicate lines can be too much of a good thing - overselling themselves, and excessively perfect or graceful. But even if the white paper is to be poluted and soiled, the spray paint is not exuberant - its blotches resemble permitted interventions. They contest the delicacy of the drawings and create additional friction so that the viewer's associations are baulked as they veer towards some facile point. By juxtaposing a small numbernof pictorial elements in unexpected arrangements and allowing them ample 'air', Stürup exploits their potential for oscillation and the scope, in the gaps between them, for resonances to emerge and ambivalent mood to simmer.

Drawing is Stürup's preferred medium and his finesses on paper bring out some of the medium's attractive qualities: drawings come across as intimate - you are closer to the point where the movements and the hesitations of the hand become visible. And drawings appear more direct: making the artist more vulnerable since it is difficult to sbsume oneself in a medium that reveals every correction.