Seeing Helen Donnelly’s new work in Crescent Arts’ new Queen Street space comes as something of a relief. In the last couple of months I’ve seen more than my share of paintings bounded by rectangular frames and hung in conventional galleries; it’s good to see someone breaking out. Actually relief isn’t the right word; the work is an array of colours and geometric patterns that threatens to burst out of its 30-foot long wall.

Although her work is ultra-modern – all straight boundaries and flat planes – Helen Donnelly is keen to point to the debt it owes to the work of Renaissance masters. ‘I get inspiration from the shapes and colours around me, but I also feel rooted in a strong artistic tradition,’ she says.

Both Donnelly and Stuart Cameron, Director of Crescent Arts, cite the work of Mantegna and Uccello who used strong geometric elements to give their paintings depth. I’d also take a look at Masaccio, whose frescoes (the best known is The Tribute Money) use planes of colour to render depth and complexity in the same way as Helen Donnelly.

It is the fresco tradition that is most strongly evoked by the central work, but there is a lot of interest in the sketches and records of ‘work in progress’ in the lobby – another good use of an unconventional space. At the Crescent Arts gallery on the Crescent there is a twin exhibition of Helen Donnelly’s paintings and sketches. Stuart Cameron is keen to stress that this is a presentation of work in progress, rather than an exhibition. Helen Donnelly will continue to work on the central piece in Queen Street, which will be open for viewing at the same time.

At the end of the five-week run the wall will be painted over. So get along to Queen Street while you can, and as often as you can. This is a rare opportunity to see an inspiring contemporary artist in the actual process of developing her work.

Helen Donnelly: New Work 8 May to 12 June

Crescent Artspace 14/15 Queen Street and Crescent Arts, The Crescent