These two artists have have exhibited together many times in the past when their works complimented each other. However, as often happens with artists exhibiting in tandem, somewhere along the line one decides to experiment with either style or technique and finds his work veering way from that of his exhibition mate. When this happens, in order for each artist to show his work in its best light, they should have their own shows. The time has come for Wake and Stanton to go solo.

In the past, both artists enjoyed working with vibrant colour and rich texture to produce lively abstract compositions. They continue to do this however here we note how Stanton retains the usual rough, abrupt method while Wake's work has drifted toward a more serene, secure style. Stanton's work still needs a title to help us navigate across his surfaces while Wake doesn't have to tell us anything. We happily fall into his paintings and let them take us wherever we want to go. Although we can't fault either artists' efforts, past or present, the difference between them now is definable.

Wake displays a solid understanding of his medium and techniques to project a sense of relaxed confidence. His works, in both large format and pocket size canvases, are well resolved compositions. They display evidence of the artist's fine eye for colour from deep purple to hot pink, and his skill with brush and palette knife, impasto and sgrafitto but more importantly the knowledge of when to stop. He adeptly celebrates 'painting', in both the doing and the finished object.

Wake's exhibits consist of horizontal broad bands and narrow stripes of colour on vertical supports. Surfaces are well worked with layers of pigment that are visibly intriguing yet soothing on the eye. Two large works that peak the imagination are Lagoon and Dusk. The former suggests humidity rising in the morning to wash and warm a pale sky while the latter implies we are in the same place during the cooling down of the evening. (I don't know if Wake had any of this in mind when he produced these paintings but it doesn't matter, I did when viewing them.) All his exhibits invite the viewer to discover and enjoy their own responses to the colours and minimal compositions. Viewers will also appreciate these works for the techniques employed, moods evoked and because they provide a fascinating surface on which we can project our own memories of the past or dreams for the future.

By comparison, Stanton's work doesn't seem to reach out to viewers or invite them in. His well-structured brightly coloured and heavily textured surfaces that support random shapes and hints of symbols can't be faulted, however, they tend to hold us at bay. It's difficult for viewers to get beyond the surface excitement to engage with the concept. It could be the colours are too bright and the textures too rough, or that the shapes seem to float on the surface like half formed ideas. His exhibits provide lots of visual impact but little interest.

There seems to be something missing from Stanton's highly decorative and powerful works. For example Reef has a large multi-coloured textural square patch set amid a field of turquoise blue. It is neither restful nor active nor organic but it is appealing. And Autumn Tan is a large work in a medley of reds with minor accents of blue, green and yellow that hosts a floating white patch criss-crossed by bars. It's another attractive exhibit that leaves us wondering what, if anything, the artist is trying to communicate. Referring to the artist's statement is no help as Stanton notes a variety of possibilities that may be found in his works. It's almost as if he too isn't quite sure what it is he wants to say. Despite all the activity on his canvases, there is not enough information to bring the viewer to a satisfactory resolution.

I can't help feeling Stanton's work would be better received if viewed in a solo show and not compared to Wake's. In the earlier days their efforts bounced off each other, now they clash. The difference between these artists' endeavours can be noted when viewing Wake's Sky which hangs next to Stanton's Night Light. The former offers calm suggestions we can gently swim through, the latter a dark chaotic surface with a floating white escape hatch.

Both artists provide fine fields of colour that delight the eye while one goes on to engage the mind. Everyone will have their own preference and find what they want in this dual presentation. Do see the shows, it certainly brightens up these dull winter days.