Whenever I hear the word, “pastel,” several ideas come to mind mind.

First of all, I think of the art material itself, but additionally, I think of the 18th Century Rococo style, because it was during this period that pastels really came into prominent use for the first time.

Many of the artists who then used this material, did so in a delicate, decorative manner; so much so in fact that one definition of the term is that of a delicate tint.

Keep all this in mind and consider the exhibition presently taking place at the Bermuda Art Centre at Dockyard, where Sharon Wilson and her students are exhibiting their pastel creations.

There is nothing delicate or anything resembling a tint to be seen in this exhibition. Indeed, this show is impressive for its strength and richness of colour.

Upon taking a quick walk through this large exhibition, two impressions emerged: Sharon Wilson is not only an exceedingly accomplished artist, she is also a master teacher.

She has been able to take students who are mostly beginners to a level of accomplishment that is exhibit-ready.

Ms Wilson apparently takes them through the art process, from the selection of papers and materials to the finished composition and then to the presentation stage; the process of selecting a good frame. I found most of the works to be very good and impressively presented.

Including Sharon Wilson, there are 21 artists in this show.

While most of the works are in pastel, there are a number of charcoal drawings. Given the richness of the colour, it seems that many of the creations are a mixture of charcoal and pastel. I have had my students work with such a combination, so I know about the rich colours that result.

It is a large exhibition; therefore, it was necessary to limit my observations. Space does not allow me the luxury of writing about every artist or every work, but I will at least attempt to highlight the show.

Works that stand out in for me are those where artists limited themselves to a simple scene or still-life. It was Goethe who said that limitations bring out the master; I often find this to be true.

A work by Jackie Stevenson entitled, “A Study in White” is a prime example of this. She depicted a still-life of just bottles and jars, not unlike the works by the Italian modernist, Giorgio Morandi. Ms Stevenson’s creation is a major composition in the show.

Monica Smith’s “Two Irises” show a fairly large composition of these two flowers, but depicted in such a way as to give them a solidity and monumentality that is unusual for such a subject. In Caron Pimental’s “Lady with Wine Glass”, there is a certain amount of anatomical distortion which appears to have been done for expressive purposes.

This is artistically legitimate and with this work, there is an appealing sophistication.

“The Worker” by Elizabeth Trott is another example of effective anatomical distortion, which, I am certain, was done deliberately for purposes of expression. When an artist’s work is done with sufficient authority, distortions of this kind can be seen as deliberate. This authority is necessary, however or otherwise it would appear to be a failure in observation and seeing. “The Worker” is a example of this kind of success.

Sharon Wilson’s “Evening Recital” is a depiction of children making music set against a dark background. It’s very simplicity is a large part of its appeal and success.

Of course children are appealing, but the rendering of this work creates the illusion of great depth. In other words, Ms Wilson has the ability to say a lot with the simplest of means.The exhibition continues until December 1.