The Kaleidoscope Arts Foundation has done it again. They continue to organise and host the Island's most stimulating exhibitions. This time it is an exhibition of four artists, Will Collieson (pictured), Louisa Flannery, Jean Rodriguez and David Zuill and all are refreshingly different, one from another. In addition, each has attained a mastery of their particular art. Skill and craftsmanship has its own particular appeals.

Will Collieson has the uncanny ability to create what appears as antique and at the same time highly contemporary. He takes what others have discarded and recycles it into something new and unusual. Furthermore, he often finds his "stuff" in the most unlikely places.

He must spend considerable amounts of time walking about with his eyes wide-open, looking for what most would not even notice or even give a moment's thought. At times his work seems layered. In one, #29, the mixed media creation initially appears as, possibly an old log but from out of the darkness there emerges what seems to be a human face. In #24, 'Life Class', he uses varnish, wood and paper to suggest a human torso. The title refers to that standard practice in art colleges of drawing and painting from the nude, but in this instance, the "figure" quite likely is an accidental discovery in what is basically an abstract design. Collieson's 'Yesterday's News', is a hanging glass shelf, upon which he has placed in a row a number of found objects. Each has the patina of age. Some are old toys or other bits of debris that conjure memories of childhood.

Louisa Flannery appears to be reinventing herself, or at least her artistic style. She has a reputation of drawing and painting "nature mort'', quite literally. This is a French term for what in English is a "still-life", or objects such as bottles, pots, musical instruments etc, in an arrangement, as a subject for painting.

It actually means dead nature and in Ms Flannery's case, she used dead birds as her subject, so you see, it was literally, dead nature. Her new work is truly a shift away from that. First of all, her other style is bold, competent and strong. Her new way is petite and delicate, also whimsical and humorous. It is based upon hair-balls combined with delicate delineations in what I think is ballpoint. In her titles she uses the term such as, "hairy bear", along with "scary bear".

She pointed out that hair on the head in fine but not in the sink or on the furniture. Certainly not in one's dinner. She also pointed out that especially with women, there is that effort to get rid of body hair, except on the top of ones head. There is a scary aspect to hair.

Jean Rodriguez's art is characteristically charming, whimsical and witty. Moreover her work, at times carries an important message. In one, #27, 'Tore Toro', she looks at bull fighting from the bull's perspective.

In this painting, the toreador is down while the bull stands proudly to receive the honours due a success in the ring. The audience is made up of bulls. In #26, 'Ewe Unravelling', she has made a papier-mâché ewe, on which she has wound white yarn from a ball that is nearby on the floor. The suggestion is that the ewe is being shorn of it wool, but in this case it is the other way round with the yarn coming from the ball to the ewe.

Of course there is a play on words, for "ewe" sounds much like "you" and we often come unravelled in our daily activities. Another three-dimensional papier-mâché piece is 'Chairman Meow'. In this piece we find a ginger cat sitting on top of a high stool. The piece is notable for its skill and craftsmanship, but also it witty title.

David Zuill is a cousin of mine, but I had no idea he had aspirations as an artist until I saw his contribution to this exhibition, which is a mesmerising piece of animation projected unto a screen. It was created entirely on a computer by means of photoshop. It reminds me of looking out the back window of a car, as, that which is behind, rapidly recedes into the distance. Additionally, the objects projected, such as birds, insects or seeds, as they recede, add up to something else, such as a palm tree or a face. Occasionally there is a statement interjected into the piece that is usually nonsensical and at least in one instance, one that is fairly lengthy and small, that I have never been able to finish reading before it disappears. One statement reads: "This man's life might have better had he learned to draw."

I can relate to that, for I am horrified at the idea that art students do not need to know how to draw, but that is a frequent argument in contemporary art training. I am not sure that this artist is actually arguing for my contention, however and in some ways, I suppose it is continuation of his nonsense. When he says, "This man'', who is he referring to? I hope that this creation is only a beginning. I want to see a lot more. This exhibition continues through April 21.