A fresh soup of stock cubism

But he is not just a canvas-coverer. In his first solo exhibition in London, the four galleries are divided neatly into magnificent large paintings; works on paper, each executed in a day with envy-inspiring facility; a room full of so-so sculptures, and a beguiling wall of photographs of his works of art lying casually but colourfully around his enormous studio.

The artist has taken a step away from the quasi-figurative themes of his earlier pictures, which included old maps and German suburbia.

In its place comes a new playroom of abstraction. If you can imagine a kindergarten with Picasso, Rodchenko and Basquiat sharing the same set of poster-paints then you might get the picture.

Here we have the angular physiognomies and round heads of synthetic Cubism, the saturated colour and diagonals of Constructivist graphics and the casual messy brushstrokes and drips of Eighties painting.

Yet, rather than a soup made of leftovers, these are the ingredients for a visually delicious new recipe for abstract art, which is all about surprise.

In his neat geometric compositions, Scheibitz plays on our expectations about the shape and texture of object and surface - there is depth one minute, flatness the next, transparency and opacity.

The paint may be smooth and thick or thin and washed out. Behind muted hues, slivers of fluorescent paint shine out, like lights behind a curtain. It's makeshift and calculated, sophisticated and childish, pleasing yet petulant.

A slight shadow hangs over the work. Scheibitz knocks up a Cubo-Constructivist composition with an ease that can look too simple.

His drips are a tad too drippy - too mannered, too "quoted". And the sculptures disappoint - their twisted arrows, drums and hubcaps are too honest about their sources, too Pop. But these are small complaints against abstraction that is this exciting.

Until 20 April. Information: 020 7472 5500

Thomas Scheibitz
Camden Arts Centre
Arkwright Road, NW3 6DG