The best part of non-representational abstraction is falling into your own mind when looking at the work. To better free-fall into paintings in these exhibitions, don't read the artists' statements or titles of the exhibits prior to engaging with the work. Words just get in the way of appreciating the colour, texture, inspiration and contemplation factors in these collections.

Stanton and Wake have exhibited their work in tandem before and the result is always satisfying. Despite certain similarities in their styles, each artist offers a body of work that is quite individual. Both create the sense chaos being controlled while each finds a different means of anchoring the viewer's eye and imagination to the surface of the painting. For example, Stanton employs rectangular shapes, either sharply defined or loosely composed, to suggest a potential form emerging from primordial elements. Wake uses broad borders of solid cool blues on either side of his compositions to confine, but not constrict, colourful abstractions. Both take an interest in the surface quality of the work to encourage contemplation of all aspects of the painting, not just the suggestion of an image but the beauty of the medium itself.

Stanton hints at the Oriental in his work with a use of warm red and the occasional yellow/gold in some, a sense of peering through a window to the Himalayas in others, and a clarity of colour and richness of texture, like heavily embroidered silk, in all. Then in the smaller paintings, no less impressive for their size, there's a glimpse of a simple post and lintel Zen gate. This Eastern influence is also noted in the equal balance between any two compliments such as colours or degrees of texture or the formed and unformed. This Yin/Yang factor offers a sense of security to anyone who ventures through these painted portals.

Wake's paintings are more spacious and provide a stronger pictorial concept to those who are prepared to relax and just look. These intriguing surfaces support thick daubs of richly coloured paint, thin washes in subtle hues, red crayon and charcoal marks, and the occasional gold leaf. Ideas and shapes solidify the longer we look at a work; here's an aerial view of a coastline or it's the edge of the planet, there's the coming together of stars in a constellation or maybe it's a DNA chain, and that must be the door to Merlin's cave. No matter how far we fall into the work, we can always come back to the surface and appreciate its intricacy.

Both these artists are seasoned professionals who offer ideas and illusions in excellent expressive abstractions. Frank Morrison, in this his first solo exhibition, does the same with equal confidence, albeit in a completely different style of abstract painting.

Less organic and more controlled, Morrison offers a collection of canvases composed of mosaic like 'pixels' that activate the surface with colour. Pigment is thickly applied in layers, often cool hue over warm, in squares measured by the width of a broad brush stroke. The effect is one of shimmering light, as each point of view offers a subtly different articulation of colour. One can imagine each canvas shifting and changing as daylight sweeps across its surface, from dawn to dusk during different seasons.

Stand back and see the shimmer of silver and glass in one 'grey' composition that seems to 'reflect' bits of bright colour, find liquid gold thrown on a tile floor and red blood seeping into the brick brown earth. On closer inspection note how, in many instances, each 'pixel' or mosaic square is a mini abstraction in its own right boasting sometimes three or four colours. These are fascinating works, the longer you view each one, the more colour relationships and textural nuances you find.

These exhibitions are very rewarding as each artist allows the spectator to approach their works intellectually, imaginatively and aesthetically. And by the evidence of 'sold' stickers in both these exhibitions, it seems obvious the discerning art buyer recognizes and appreciates this factor of non-representational abstraction.