The artist Paul Klee once said that drawing is the 'art of taking a line for a walk'. Dudley Edwards takes that a step and a shimmy further. "I like to lead the eye on a dance," he says. Does he ever.

Back in the Sixties, Edwards was a leading member of the pop art collective BEV, whose art and psychedelic murals appeared everywhere from Carnaby Street and the boutiques of the Kings Road to Paul McCartney's 'Magic Piano' (a riotously multicoloured keyboard stand made to look like a short upright piano). BEV were also known for their light shows - such as 'The Million Volt Light & Sound Rave' at London's Roundhouse.

Edwards quickly found himself at the heart of the 'Swinging Sixties'. He painted murals in Paul McCartney's and Ringo Starr's homes (John Lennon apparently once spent many hours sitting and admiring the Edwards mural in McCartney's home) and provided the artwork for albums by the like of Fats Domino, Andy Brown and Billy Nicholls. He even designed rugs and tapestries for Peter Gabriel and Tori Amos.

Even today, his art is suffused with the colours and hallucinatory rhythms of that wild decade. It's almost like cubism on LSD...

These days, the artist - whom was born in Halifax in 1944 - lives in Richmond, and has a studio in Yorkshire.

But he's still producing new work: some of which will be on show in a new exhibition at Harrogate's RedHouse Originals gallery from September 14.

It is an exhibition that is entitled, very appropriately, 'I Got Rhythm'. That's no exaggeration.

One piece, entitled Levitation, shows two figures literally floating above a dance floor - as though the energy, grace and rhythm of their dancing has transported them onto a new plane (or perhaps as though they're on an LSD trip: the colours suggest that as a possibility).

Edwards says that his compositions 'make use of enclosed shapes like circles, figures of eight or labyrinthine spirals'. By using contrasting angle,s colours and curves, he adds, 'the rhythms may vary in tempo and time signatures from a waltz to a quick step, fox trot or tango'.

You can see that change in tempo very clearly when you compare Levitation to another work which will feature in the Harrogate exhibition, Taming the Beast.

This shows a seated woman with long, dark hair leaning down to caress a cat twining around her bare legs. The figures of both cat and woman are fashioned from intersecting angles and curves. There is grace here, and movement. But it isn't the leaping, frenetic movement of Levitation: it is much calmer, quieter, more reflective. The colours used in the two works reflect the differences between them: the basic palette is the same, but in Taming the Beast everything is more subdued, more pensive. What is the woman thinking? She seems to be in a state of acceptance, perhaps having come to terms with some inner struggle or problem in her life. Maybe she's tamed the beasts within herself.

Whatever, you could imagine John Lennon sitting in front of this piece for hours, quietly admiring it...

Stephen Lewis

I Got Rhythm, an exhibition of work by Dudley Edwards, runs at the RedHouse Originals gallery, Cheltenham Mount, Harrogate, from September 14 to October 5.