The Bermuda Society of Arts continues to challenge its members with innovative exhibitions.

The current show at their City Hall gallery is confined to three-dimensional works.

It is not as full of work as some of their recent shows, but the quality is just as high.

It varies from three-dimensional wall hangings to a considerable amount of sculpture in the full round.

The latter is extremely well displayed so that the viewer can walk all around the pieces and thus enjoy their full impact, an advantage rarely found in Bermuda exhibitions.

Following the catalogue, the show starts with three pieces in Bermuda Cedar by Mark Lombardi. The first is somewhat bulbous, but the other two are vases of classic shape and simplicity enhanced by an exacting attention to the grain of the wood and dramatised by deliberately included gashes of decay.

To have included the ravages of time in his work, rather than rejecting the imperfections as unwanted blemishes, gives these works real distinction.

Will Collieson?s amazingly resourceful imagination has resulted this time in a tree assembled, as he so often does, from disparate bits and pieces of nothing much to create something vastly more than the sum of its parts.

Its title, ?A Tree is a Tree is a Tree?, is yet another example of the artist?s wry humour and includes a tiny piece of bleached coral with an uncanny resemblance to the kind of dry, whitened cattle skulls so frequently found in depictions of the desert South West.

It is nothing so basic as its title suggests. It hangs next to an installation piece by Joyce Joell-Hayden, a bag overflowing with wood shavings.

It is, rather unfortunately, in the circumstances, entitled ?Tree?.

Elsewhere in the gallery, Mr. Collieson has a self-portrait in silhouette cut out of a part of a wrecked ship.

Even given the harshness of the medium it can be seen slightly to flatter.

Perhaps it was done using his final work, ?Upon reflection?, a mirror surrounded by a frame of steel rays suggesting a rather gloomy ?happy face? sun.

Hanna Emerson has three works in copper. ?Pumpkin Bowl? borrows its shape from the eponymous gourd and is beautifully burnished to create the impression of translucency.

The other two are cylinders perforated at the top and cleverly structured within so as to function as flower vases.

They might equally well have contained candles for an unusual lighting effect.

Four small works by Peter Lapsley are created from clay, acrylic and soil.

Each one all reflects his ongoing trinity fascination and all are as mysterious and fascinating as ever.

Neither mysterious nor fascinating is an in-your-face anti-smoking campaign poster fashioned from this and that and including the expectable death images. This is by Bruce Stuart and is effective as propaganda, but what artistic value can be discerned in it eludes me.

Graham Foster becomes more macabre by the month. In ?House of Extinction? he shows an animal skull contained in a welded steel framework.

It is very nasty indeed, but if your taste runs in that direction it is beautifully executed and its dramatic impact hits you right where the artist intended,the solar plexus.

?Bambara Perambulator? incorporates a welded steel rickshaw carrying an African ceremonial mask. It possibly represents a clash of cultures in days, now, long gone.

The star turn of this show consists of two quite different but supremely graceful sculptures by Chesley Trott.

He has an audience?s eye for ballet, seeing only the graceful movement and escaping the sweaty effort and solid weight of the dancers that is exposed backstage.

The beauty and grace he observes has been abstracted into a superb and unusually delicate cedar carving, ?Ballet Movement?.

I have never found Bermuda cedar a grateful medium, but Chesley Trott is certainly its master.

In wonderful contrast is ?Slow Dance?, two figures passionately entwined in languorous movementand carved from Bermuda Olivewood, a Bermuda endemic I have not before seen used in sculpture.

It turns out to be a most effective medium and its contrasts add remarkable effect to this work.

Both of these works may be viewed from every angle; both meet that challenge with perfectly balanced compositions.

David Mitchell?s ?Hall Cabinet? may baffle many viewers.

At first sight it is an elegantly shaped triptych of the unusual wood associated with Mr. Mitchell?s work.

Hinges and apparently superfluous depth provoke curiosity, but the normal reluctance to touch in an art gallery is inhibiting.

It turns out that this is indeed a functional cabinet, but opening it to expose mirror and surfaces painted in a muddy, eau-de-Nil colour considerably detracts from the initial beauty of the front.

Kok Wan Lee?s fascinating installation piece from the Society?s last show has here been moved to the centre of the gallery and greatly expanded.

As with anything thus inflated, its impact is sadly diluted and its original theatricality entirely lost.

By contrast his ?The ghost of Fall?, a tiny, very fragile work in white painted twigs and white paper has far more immediacy and impact.

Not everything lives up to the quality of the whole. Bruce Stuart?s work, for example, seems to become steadily more obsessive and tight, but despite a few departures this is indeed a fascinating and worthwhile show ? a successful experiment well worth a visit.