I often play a game with myself when viewing work by members of the Oxford Art Society. On entering the show, I go straight to the centre of the room and allow my eyes to travel over the wide range of work on show; then, having selected a dozen or so that make an instant impression, I view them all more closely. My aim is to find the picture I would save for prosperity if someone suddenly shouted “Fire!”

The standard of work on show is always so amazing that this has never been an easy task. It took me even longer than usual to make my choice this time, as there are so many really great paintings and sculptures on display.

My short list finally included Jill Cooper’s remarkable fabric collage Picnic, which is featured on the society’s catalogue. How does she do it? I ask because Jill always manages to express the inexpressible, using fabrics and machine stitching, rather than paints. This time she gives us three women gorging themselves on the treats they have removed from their picnic baskets. The expressions on their faces says everything and without a single brush stroke. As the years pass, Jill’s creations seem to get better and better.

I liked Patrick, an oil on canvas by Therese Penny who has captured the gentle nature of her sitter perfectly. Because I love taking coffee at Blackwell's, and because Grant Walters has encapsulated the atmosphere of this space at this popular Oxford bookshop so perfectly, his Blackwell’s Coffee Shop, in oils, delighted me too.

Terry Woodvine’s Queen Mum certainly intrigued me as he has used what appear to be worn photocopies of bank notes to compose this picture. Because I adore still life studies I could not overlook Sarah Balmer’s Basket of Pears in watercolours. Such a simple composition, but perfectly executed. Liz Sampson’s oil Still life with Onion delighted me too, and for the same reason.

Annie Newham’s gouache and wax The Old Bank is smaller than the pictures she usually shows, but is nonetheless effective. Two people huddled together, sharing something — though we may never know what — is a fantastic study.

But the work I would grab in a fire is Heather King’s oil Let Sleeping Dogs Lie because it made me laugh.

There is just time to catch this splendid exhibition before it closes tomorrow (Friday).