The decaying stone building and farm implements suggest 'Old Times' (no. 35) in Derry Shannon's evocative painting. The advancing tangle of vegetation represent a much longer time frame. While 'Waterlilies' (no. 32) are the focus but a particular attraction of Derry Shannon's paintings is the less obvious detail ... the montbretia and the ladybird ... what other surprises are hidden in the growth and the infinite variation of water surface?

Power, speed, skill are part of the attraction of sport. But it is made spell-binding by the passion that demands a super human commitment. Paul Downey's 'Hurdlers' (no. 16) say it all. In complete contrast 'Misty Morning at the Gap' (no. 15) exudes peace, quiet, contentment.

The artist shows what is not always readily apparent. Valerie Aichinger's appealing arrangment of 'Striped Mug & Fruit' (no. 5) reveals a variety of colour and pleasing shapes in muted vibrancy. In contrast the strong colours in 'Mandarin' (no. 1) demand attention - with the silver/white teapot standing out in contrast.

'Barleycove' (no. 10) by Michael F. Downes' is timeless. The scene of sand, sea, mountain and sky is and was. His painting of the 'Old Weir Bridge' (no. 12) is old. Traffic here would have been horse drawn or on foot.

Colour, light and texture are particular features of Tina Reed's paintings. 'Carrantuohill Summer Solstice 2009' (no. 20) has a vividness and strength. In 'Lough Leane in Autumn' (no. 18) Reed captures our very special Indian Summer and the particularly rich colours of our extended autumn.