Antonie Hunt's photos are among the bold new works of art that critic Wayne Dill is celebrating in his round-up of recent exhibits Wavelengths, Nature's Palette and William John Gringley "There are two distinct approaches to the work of an artist. One might be called historical, or at the personal level, biographical: it places the artist in his time and circumstances, and attempts to explain his achievements in terms of his social origins, his upbringing and his relations with the artistic movements of his time.'' -- H. Read, Art and Alienation, 1967 "WAVELENGTHS'' at the Bermuda Arts Centre at Dockyard was indicative of the tremendous art movement flourishing on the island.

Aptly subtitled: "Where poetry and visual arts merge,'' this show possessed enough artistic verve that either aspect could stand on its own.

As a group shown it transcended its billing by rendering some of the finest dynamics of artistic expression across varied and diverse mediums.

The array and depth of talent on exhibition was nothing short of dazzling. The photograph series Illa by A. Hunt was dark and atmospheric yet it managed to capture the essence of femininity with a Zen-like beauty that was simultaneously succinct and accessible.

I must confess to an affinity for the daring and provocative and on these terms Manuel and Gail Palacio delivered. Manuel Palacio's There is no fear in Love was a concept piece that was as audacious as it was searingly poignant.

Gail Palacio's dramatically sweeping piece A Kaleidoscope of Whispers under my Feet was inventive with its unpredictability and cleverness.

In equal measure, the poetry was astounding. Andra Simons' Joshua meets Nina Simone pays tribute to the high priestess of soul with an uncanny fluidity which is the hallmark that resonates throughout Nina Simone's music.

And Kim Dismount-Robinson's Dark Horse simply pulsated with unbridled sensuality.

The one disconcerting aspect of the show was having to read the poetry from a mounting on the wall -- which was not always at eye level. A booklet of some sort would have served the viewer better.

V. Steede's The Flag was a politically charged work of flaming boldness.

Beatnik and Kok Wan Lee offered special highlights with their submissions.

"Wavelengths'' contained something for everyone and it is not very often that an art show accomplishes this feat. Whether it was the whimsy of A.

McKittrick's Caught or the ingenious sexiness of Alicia Tyson's pieces, the artistic movement reflected by this show was stunning.

"Nature's Palette'' at the Burnaby Gallery featured the work of artists -- Lynn Baker, Jodie Tucker, Charles Anderson and Elaine White. Although the premise of paying homage to Bermuda's plants was interesting, Baker's pieces never elevated beyond the adroitness of botanical illustrations, which often tend to be banal and sterile.

Conversely, the floor covering Lily Pond by E. White possessed a mesmerising tranquillity that was immediately communicated with a downward glance. This was a very effective device for this piece, though it did not transfer well to the others.

The Bay Grape Leaf Armchair by Jodie Tucker exuded craftsmanship of the highest level, but in its solicitation of commissions, as the French would say: "l'ecriteau qui se trouvait sur la chaise etait de mauvais gout.'' C. Anderson's photograph and G. McCullouch's painting of the same flower was wonderful to see even if mere coincidence. The same subject interpreted via different mediums and artistic renderings gives credence to the power of art.

W.J. Gringley's show at Masterworks jumped right out at you with its adventurous, chromatic styling and faculty for imaginative luminescence. Hot Afternoon and In the Shade, St. Davids were particularly appealing from the perspective of composition and execution. This was a sound outing for Gringley.

As evidenced by the exhibitions currently underway, Bermuda's art scene is a thriving and boundless movement of excitement. Applause! Applause!