through March 6.

Well known for its eclectic approach to the visual arts, the Arts Centre at Dockyard has come up with yet another exhibition that succeeds in stretching boundaries and definitions.

If the very word "embroidery'' conjures up images of elderly spinsters sewing pretty flowers, or of dusty samplers reminding us of Home Sweet Home, this should come as a surprise -- and a pleasant one at that.

"Manchester'', featuring the work of contemporary artists connected that area of northern England, itself a famous textile area, is a small show, but one that is revealing and a sheer delight to look at. It should also go some way in answering the sometimes contentious question of what, if anything, separates art from craft. The answer seems fairly obvious in this case, in that mastery of technique (or craft) is indeed a means to an end -- that of complete freedom of artistic expression. Thus we have a collection of modern and ancient textiles on which stitiches have been "drawn'' or "painted'' to create diverse images that may range from depictions of nature, abstract works and even satirical social comment.

Anne Morrell, who has organised this show as well as running a series of workshops at the Centre during her stay here, has included two pieces of her own work. As the first professor ever to be appointed within her discipline, and as an examiner for doctoral candidates all over the UK (including the Royal College of Art), she is recognised as an international expert in embroidery and textiles. She is also well known for her research into historic and ethnic textiles, particularly those of the Indian sub-continent.

Noting that the pond in the garden of her suburban home provides constant inspiration, her "H2O'', worked in serenely delicate tones of blues and greens, she uses the wavy patterns and marks that are universally accepted as `water motifs', an applique `wave' also rising dramatically through the stitched ripple effects. "Night Lights'', as its title suggests, is an ingenious study, multi-dimensional in effect where the brilliant colours suggest highrise buildings and dark streets streaked with reflective lights.

Polly Binns concentrates on a specific area of mostly marshy coastline with its seasonal changes and washing tides. This is echoed in two immensely satisfying works, "Sand and Winter Light'', where knotting and slitting techniques in pale golds and sandy beiges convey a wonderful sense of place and a smaller, equally atmospheric piece, "Tidal Surf'' where, again, `tangled' stitches represent the smashing of waves upon the shore.

Using coarse linen covered with gesso, Maxine Bristowe reveals a utilitarian use of textile in "15 in Three Blocks of 5'', while Jane McKeating turns to the computer for her closely woven "picture'' embroidery of a tousle-haired boy surrounded by an assortment of letters, envelopes and bolts of cloth.

There is a complete change of mood in the sheer beauty of Isabel Dibden Wright's "Cosmos'', a large patchwork wall hanging, worked in silk in a glorious colour combination of black, grey and white, slashed with the palest of pinks, oyster, cream and white with black stitched delineations of flowerheads.

Lynn Serrington chooses the cheerfully prosaic theme of "A Night In'' for her wall hanging with pink stitching on a white ground in which such domestic objects as a shower hose, shampoo, scissors, mirror and hairdryer are highlighted. A perhaps sharper comment on female frippery is explored in Melanie Miller's work, two long pieces of sheer fabric, featuring a series of female figures "drawn'' in stitching, adorned with sparkly dresses, lacy underwear, frills and even furbelows, epitomising the world of the "Baby Doll'' and "Reenie the Ideal Woman''.

Altogether, a show that adds to the Arts Centre's reputation for shedding light on the unusual and, in this case, highlighting an area that has perhaps been somewhat neglected.

PATRICIA CALNAN Anne Morrell Graphic file name: MORELLI ART REVIEW ARTIST ART REV