When two experienced artists set up an exhibition of their work it is tempting to ask "Who is the better artist?" For those who don't know about Art but know what they like, the answer will be according to fashion. To those some way along the path of experiencing art for themselves, the criteria will involve a broader concept, one that goes back to what is called the Classical Tradition and stretches to the present day holistic, eclectic and perhaps amorphous view.

Ian de Souza's work is firmly based on the Classical Traditions of perspective and design. These skills, and accurate seeing, demand an intellectual rigour and this is always associated with a literary perception. A favourite question "What is it?" or "What's it meant to be?" can always be answered by Classical Tradition, however, the danger of too great a reliance on literary perception is it can come to dominate whatever the artist is doing or saying. As such, art experience can encounter boundaries that constrict. For example, "What is it?" relies on words alone, much less demanding for the viewer, but at least connected to the real world.

De Souza's work is all about images from the real world. Nudes, figures landscapes and portraits are what he is about.  Within these self-imposed boundaries, De Souza can be adventurous by pushing line to its limits of lyrical expression. For example in All that Jazz and Cellist, where traditional perspective is used with drawing skill, his lyrical line includes rhythms and patterns that parallel the musical sounds of jazz and the cello.

Peter Good is an imaginative artist who evokes several sense perceptions in order to create his works. For example in Windjarra Gorge the viewer can have a sensation of floating in front of the mountain. Here form has not been replaced by sensation but rather multi-layered with it, thus creating a unique view of space. Again in Trigg Beach the viewer seems to 'climb' the seashore, touching, smelling and otherwise experiencing the sensations of sand and sea. Space is influenced by an almost Asian sensibility where traditional perspective is replaced by ambiguous vertical viewing.  Again in Christmas Tree the exploding orange forms carry sensations of perfume which even nature does not provide.

Ian de Souza's use of line to push out boundaries and Peter Good's use of tactile and auditory sensations are aspects which other aspiring artists would do well to consider.

Overall an enjoyable exhibition based on skills usually in short supply in the present day art world.