The two artists in this exhibition offer a sedate, slightly whimsical selection of paintings and drawings, which are indeed as harmonious as the title tells us.

Pamela Klimcke is concerned primarily with an observational approach, her subjects including paintings of figures encountered at bustling African markets. These are painted as if studies, sacrificing anatomical precision for fleeting impression. Of the figure based work, Daughters is the most attractive. In this a young woman holds a baby, the figures believable, helped by the intimate composition and a greater sense of interplay between tonal range and economical paint handling. Her favoured subjects, though, are flower studies, composed so the interior structure becomes the main focus a la Georgia O'Keeffe.

Syra Larkin follows a more stylised mode, where figures and landscape are entwined as an integral unit, a device which works well in most examples. In Forging a Myth, a male and female figure are beautifully synchronised, pushing against the cramped interior - the relatively rounded tonality and distorted anatomy recalling the likes of Beckman.

In this and others, chalk pastel is used, but it is not always employed to good effect, as the grainy finish cries out for flashes of opaque colour. Paint alone may not be a solution, as Moss Gatherers is incredibly twee, and takes symbolist leanings into purely illustrative territory. A number of other works in paint do succeed, though, as Larkin absorbs herself in askew perspectives which have a dreamlike quality, embracing the influences of cubist and futurist styles.

Runs until August 30th.