Shepard Tone offers an eclectic mix of painting, photography and mixed media wall-based work, seemingly with little in common. The title describes an auditory illusion of continually descending or ascending pitch. As expected, the exhibition is deceptive too, and elusive, featuring works such as ‘The Great Supper’: a painting of an ordinary house at first glance, until we notice the impossible perspective of windows and double horizons within them.

There are clues, however, to an exploration of natural versus urban environments, apparent in works such as ‘Socotra’, an abstract acrylic on canvas representation of a spray-paint design, or ‘Sean’s Greens’ and ‘Jack’s Blues’, a series of dots in sheep marking spray-paint on polyester fleece. Nevertheless, the jarring disparity between the works is such that it leaves the viewer feeling like a frustrated detective, constantly looking for a connection just out of reach.

The exhibition feels like a disjointed group show, as is often the case with Timoney’s work due to his distinctive method of ‘formal diversity’ – it’s certainly not for everyone.

The Modern Institute, Glasgow, until Wed 11 April.