How does one say kindly that the present exhibition at the Bermuda Society of Arts is a disappointment. A short while ago, the Bermuda Art Centre at Dockyard tried to do a similar show with similar results. In both cases, the exhibition committees are to be commended for trying to get the membership to "think outside the box".

It appears though, that at least a sizeable number of the artists here are "stuck in a rut".

Getting them beyond where they presently are, is to get outside their comfort zone. Maybe this is the situation but, then again, possibly some are thinking about sales and are trying to guess what it is that a culturally conservative community will buy. Whatever it is, it makes for a less than interesting show. This exhibition is notably spare.

To be fair, however, it is not so much what is in the show that concerns me. A bigger concern is what is not in the show.

The fact is, most of our well known sculptors are not represented at all.

When the BSoA has an open, unjuried exhibition, all kinds of members show up with their "more-of-the-same" paintings or whatever.

Truthfully, it takes courage to create but surely there are more courageous individuals out there in the art community than the few who did try, who are in this exhibition.

One of those who attempted to meet the requirements of the exhibition is Kok Wan Lee.

His 'Ghosts of Fall' is the centrepiece of the entire show.

It is in the middle of the gallery, spread out on the floor. It consists of sticks and leaves. It reminds me of the statement by Andre Gide, who said that "art is the collaboration of God and the artist and the less the artist does, the better".

This is truly a collaboration between Kok Wan Lee and nature. This wonderful creation is worth a visit to the exhibition alone, but there are a few other pieces in the show that meet the exhibition guidelines as well.

Will Collison's 'Panel of Inquiry' is a nice balance between a concept and the physical presence of the work. The title is a play on words, for the larger part of the work is an old, weathered cedar board, which causes one to ponder and inquire of its history.

Cosmic Consciousness has a piece that is mostly conceptual. He presents us with an old television set, upon which he has written provocative words.

On the front of the set, there are positive words, but behind that are the negative aspects of most television programmes. This is a work that makes you think.

Nancy Hutchings Valentine's three untitled pieces are explorations of new materials, such as resin and dye. I am not sure of the success of the attempt but at least she is attempting to present us with something new and fresh and what there is, comes across as something delicate and ephemeral. It is an exploration of the qualities of the material itself.

Elizabeth Trott has three small bronze sculptures, that are well made and well presented.

The trouble is, I have seen these same three pieces "umpteen times" over, I don't remember how many years. Of course good work is always worth seeing repeatedly, but one wonders what Ms Trott has done with sculpture since making these three pieces.

I would like to see something different, but of the same quality.

Joyce Joell-Hayden is exhibiting another of her grocery-bag creations and in this case, it is a play between the material she uses and the title, which is 'Ethnic Bag Lady'.

Nea Willets is showing her small bird paintings that she exhibited at the Bermuda Art Centre a few months ago but in this instance, they are hung more as a mobile.

It is almost as if the birds are flying. Sonia von Walter's "Old City" is a small, mixed media construction that truly conveys the impression of age.

At the southern end of the gallery, Deirdre Furtado's work is a play on the traditional banana doll, which comes across as an expression of fury. It is full of swirling, almost irrational motion.

Nearby, Milton Hill has six unusual models of sailboats in Bermuda Cedar. They are unusual in that he allows the material used in making the work, that is, cedar, to exert its presence as a material. There is an effective balance between the subject, which is sailboats and sailing ships, and the material used in making the models.

It is good to see that we have another potter in our midst. Carolyn Carr is showing two ceramic vessels. One was produced by means of Raku, which is a Japanese ceramic technique. The results are always unusual and unpredictable. She is also exhibiting a stoneware vessel. Good ceramics are always a joy to see and in the case of Raku, I am also reminded of the tea ceremony, for this technique was originally developed to make tea bowls for the tea ceremony.

Amir X is exhibiting a number of fancy-framed African tourist pieces. These are the kind of work one finds in souvenir shops in the airports of Africa, but also in decorator shops elsewhere. They lack the authenticity and presence of genuine African ceremonial sculpture.

Three artists ? Alexandra Mosher, Kelly Hunt and Rebecca Little ? are showing their own creations of jewellery. Here I am out of my depth.

I have no background in judging such works, other than the general principles of design. My own taste also comes into play when I look at these pieces. I would find it easier to judge them, however, if each piece was actually being worn. What might look good hanging on a nail, might not work around a wrist or neck.

I usually have a personal preference for silver over gold, but it all depends on the situation.

In earlier reviews, I have written about my preferences for silver picture frames but on rare occasions, gold has actually been the better choice.

The exhibition continues through December 13, 2006