This exhibition brings together two artists who are involved with very similar aspects of mark making and treatment of medium. Tangney continues on her theme of the working core of Fremantle Harbour, abstracting its geometric dimensions and reorganizing the shapes to semblance's of their original form. Perkins focuses her attention on the abandoned Power Station site near Cockburn, placing aspects of the industrial art deco facade with radiating moons or pale skies of dense impasto.

Apart from Perkins' rippled underlays, both artists interact with colour and surface incision intricately, resulting in an exhibition of paintings complementary in temperament and composition. In fact, one wonders how closely at times these two collaborate, given their favouritism for the arbitrary red line and roughly drawn grids.

Tangney's palette of industrial reds, pale avocado and sea green is coolly set against midnight blues and emeralds. For example Inner Harbour #2 resonates with the deep green mystique of the harbour, where giant scale industrial forms stack up against the seemingly narrow channel of diesel drenched green water, which forms the throat of the Swan River. A colour band at the base of the green abyss reveals a suggestion of what lies on the docks from this aerial viewpoint. Large square ships such as the engulfing Wilhelmsen Lines position themselves along the north side. Loaded up with cargo they make a bold mark against the harbourscape, which Tangney translates into heavy red canvas in Wilhelmsen #2. Meanwhile Shipment - Fremantle Harbour mimics the stacking of cargo at the Port where square blocks of colour rest above the body of water below.

Tangney takes shapes of structures and reduces them to a nuance with delicate, organic lines. Often the paint sits transparently upon deeper layers, sometimes scored or scratched to etch a mark more permanently. Panels of solid colour, interrupted with light vertical line blocks and intermittent flat horizontal stripes is a successful segmentation of form in Quay Stripe, a stunning column painting that seems to spa sea to sky and the junctions that exist in-between at the harbour site. Tangney's functionalism is marked with suggestions of sentiment, the attachment of a place that possesses many visual dramas as well as personal memories.

Perkins on the other hand, uses the site of the old power station at Jervois Bay which has recently been gutted of its hazardous contents and yet remains like a ruin so derelict and so beautifully full of wonder and potential. Handling paint in a way reminiscent of Tangney, Perkins achieves lustrous stains of colour with erasure and layering, creating opalescent effects. Power Station - South Side 2000 demonstrates this treatment. Otherwise Perkins's colour can be powerfully bold as in Entrance to Powerhouse (Water Way) where the blue square at the lower left quadrant dominates the entire painting, forming a strong definition against the faded structure behind.

Line is treated as a necessity in Perkins's work, being closer to the literal subject. These lines are warped and wonky, as an almost child-like translation. The moon is a recurrent feature, a token of romantic sentiment. Romanticizing the paintings is not always successful especially with Door Found (Power Station and the Moon Series) where a love heart rests above a red door, although the composition of the painting itself is outstanding. The Gothic turret positioned at the far right of the painting rests above the uppermost levels of the building, edged with metallic plaster it transforms the classic facade into a cathedral, whilst a prophetic chalky white sky hovers above. Perkins's resolution of her affinity with this historic site is deeply personal and is a somewhat innocent projection of her fantasies onto a subject that evokes wonder and the imagination.

2 Places connects with the viewer on deeper levels than purely visual. Both artists have materialized their unique aspects of spirit into the work, becoming something of a meditative, soothing experience. It will be interesting to see the next stage of development in their work and whether their sisterly styles will take a departure.