I envy the person who has put a red sticker on Ben Hope's oil on canvas entitled Violin, one of 65 works by members of the Oxford Art Society, writes Helen Peacocke.

It is a superb piece, and as the title suggests, features a violin. But it's not just the violin which catches the eye. The faded documents, a Christ Church mug, an old Cowley Carol book and the shabby violin case all play their part in bringing this picture to life. Ben Hope paints with an eye for detail and composition.

Sculptress Juliet Dyer is displaying another of her splendid figurative sculptures. This time it's two figures embracing, and what an embrace (perhaps I should call it a hug?). They are certainly making much of the moment which is probably why she has called it Help! I Need Somebody?

Jill Cooper gives us a jolly and very colourful fabric collage, called Friends in the Sea, in which she has depicted six dancing women in their middle years daring to splash their legs in the waves. Very imaginative.

A darkly painted herd of cows walk towards the observer in a fascinating mixed media work by Peter Ross. It is a very atmospheric painting, though the sky and surrounding landscape seem darkly threatening, leaving me to wonder if it was worked before or after the foot-and mouth outbreak. It's called Cow's Waiting, and is a very commanding work. The intricate and tutored way Ray Rawlings has handled watercolours in his Along the High - Brasenose College, demands a second look, if only to inspect the incredible detail of a door, its surrounds and people passing.

Then there's the reclining nude in Alex Hyde's Relaxing, painted in watercolour and pastel, which is an excellent example of what the two can do together on a canvas. One of the main figures in Annie Newnham's Wine Bar II, an amusing study worked in gouache and wax appears to be relaxing too, though the woman in the hat who sits on the right hand side appears to be slightly alarmed at finding herself in such a place.