Tuggeranong Arts Centre is 25 years old this month and these two exhibitions are part of their birthday celebrations. The two exhibitions include photography, painting, sculpture, textiles and the written word. The variety of media encompassed is exemplary of the Art Centre's wider activities and points to the vitality and diversity of their program of events.

Adele Rae Cameron and Craig Cameron are sister and brother. Their exhibition Used, Drawn and Dyed is sub-titled a "collaborative exhibition". Individual works are not ascribed to either artist but despite this there are clearly (at least) two artistic identities present. Craig Cameron is a painter and shows six works using recycled refrigerator doors as their "canvas". These take aspects of the Australian landscape as their theme and it would be fair to say that there is unevenness in their aesthetic resolution.

The better works show the artist's control of his tools and medium. Bushwalk exhorts the visual richness of the Australian bush. Cameron adopts an interesting palette combining the paint with areas of the ground back surface of the 'fridge door, the latter emerging through the paint and breaking the otherwise densely patterned surface. The silver-blue "inserts" provide structure and imply some subtle kinetic intrusions that provide visual and formal spatial relief from the energetic abstraction of the surface. While the natural environment is suggested here, that suggestion competes with the freneticism of the surface.

The quiet(er) pictorial configuration of Snow Gums is characterised by the artist's emphatic use of flowing verticals dispersed across the picture plane. These break into the surface and simultaneously infer spatial depth and natural forms. The artist's control is clearly evident. The latter is also seen in Desert Walk where the different taxonomies of the native flora are scattered across the painting and encountered as they would be in nature. This proscribed randomness works extremely well and Cameron might consider using it more to lessen the visual repetition that is difficult to avoid across this series of works. . The frames used by the artist do not assist in any way in the presentation of these works.

Hanging in the centre of the gallery is Good Morning Mount Ainslie, described as a "Laura Ashley sheet, Eucalyptus, mordant". It is a large exercise in the use of the artist's environment to source the materials for her art. Its physical domination of the gallery space along with the turgidity of the palette is an imposition rather than a positive addition to the exhibition. Scale is important to this (and any) exhibition and the artists here have played with it to good effect. Cross Hatch is clever and visually attractive. It is made up of a number of units of recycled (the "Used" of the title) heddle wire aligned somewhat like a boundary fence. It is small yet carries possibilities within it to be made to any size. Scale is beautifully captured.

Drawing with Wire eloquently exemplifies the idea of sculpture as being like drawing in space. Hanging from the gallery ceiling. this simple and beguiling work plays with its spatial surround, its simplicity reinforcing its aesthetic efficacy.

Despite the presence of some good works I remain ambivalent about this exhibition overall. Not enough regard has been given to relationships and scale within the gallery space.

Iconic Moon takes the viewer on a journey with the moon through some of Canberra's iconic architecture and special places. It consists of 25 photographs by Margaret Kalms and a book of poetry (also titled Iconic Moon) by members of the School of Music Poets. It is a disappointing installation. The artist has chosen to arrange her photographs in a particularly idiosyncratic fashion. The photographs are placed at varying heights that I am told have something to do with the moon's movements across the night sky (?). What the placement does is create a disconcerting visual experience that does not assist in allowing each of the images to present itself to its best advantage. That said, if one tries to ignore the installation one finds that many of the images are beautifully evocative and striking in their combinations of the night sky with details from various Canberra icons. I was particularly taken by The moon and I, Captured moon, War Memorial eclipsed and When we go to war.

. Integral to the exhibition is the book of poetry. This is a fine little production representing as well as Margaret Kalms' photographs, the writings of 11 Canberra poets. Recordings of the poems are available in the gallery. I normally do not advocate the inclusion of text in visual arts exhibitions. The conceptual basis of Iconic Moon is the symbiotic creativity between image and text, photograph and poetry. The interspersion of text onto the gallery walls to break the run of images would have been not only overt acknowledgement of the poets' contributions but would have also provided visual/textual caesurae for the images. Astute groupings of the photographs and a better use of the space aligned with the inclusion of the presence of the poems would have added greatly to the experience of this exhibition.