Michael Cacy's exhibition entitled "Reflections of Bermuda", currently showing at Common Ground, is very impressive indeed. His artistic skills and technical abilities are so good, the viewer is almost overwhelmed by them. At the same time, I have struggled with what I see as certain subtle difficulties in his work. I need to be careful here, however, for whatever I write, I want it to be supportive and constructive. I also recognise that some, doubtless, will disagree with me. That is to be expected and welcomed. Divergence of thinking helps generate healthy debate. Through disputation we learn and grow.

To me, however, Michael Cacy's work seems almost too good. His perfection is his imperfection. The surface qualities, especially of his oil paintings, with their smooth precision and considerable details, are so flawlessly and photographically rendered, as to appear frozen in time. They stop breathing. It comes across as a technical tour-de-force, but in the end, they seem to lack soul. Martha Graham (1894 — 1991), well known dancer and choreographer, suggested that it is the flaws in a work, that lets the soul out, but these paintings are without any discernible flaws and that is what I mean, when I say they are too good.

Michael Cacy's watercolour paintings are another matter, however, and although as skilfully handled as his oils, they are, at best, more relaxed and gestural. That is a good thing, for they provide a relief from his tightly constructed oil paintings. Even the transparency of watercolour conveys a certain airiness that suggests breathing. Since we are creatures dependent on the rhythms of inhalation and exhalation, we also need, albeit, mostly subconsciously, the same kind of tempo in our artistic expressions and when it is lacking, we get uncomfortable. We need that consciousness of joyous movement, to gives our artistic creations, a sense of life. His watercolour paintings often have a liveliness that is life enhancing.

Mr. Cacy's oil paintings depict, mostly, scenes from Bermuda's early history. The one that stood out for me is called "Plaiting Palmetto". It depicts a woman sitting in a sunlit patio, plaiting palmetto, as we commonly did centuries ago, when we were much more dependent on our own scanty natural resources. The reason this painting attracts me, however, is much more than its subject matter, although that is a factor. The primary attraction is the painting's painterliness. This is in contrast to the smooth rendering of his other oil paintings. In this painting, I am conscious of the fact that it is made with paint and painted with a brush. The brushstrokes are apparent and for me that is a positive.

Of the watercolours, the florals are most appealing, especially the one of an oleander. In this case, the painting is comparatively loose in brushwork, so much so, it has a certain abstractness, although its floral nature is still ascertainable. At first viewing, I failed to recognise it as an oleander, however. That is not necessarily a fault. Its abstractness is its virtue.

The concept of abstractness, is, today, such a vague term, it is necessary that I explain my understanding of it. Many think it suggests something outside of reality. I do not see it as such, indeed, it is impossible to get away from reality. No matter what we create, whether realistic, or abstract, it is always to some degree abstract, but at the same time rooted in reality. The complexity of our nature is such, we cannot do otherwise. That is how I understand and use the concept of abstraction, generally and particularly here in my consideration of Michael Cacy's watercolour of an oleander.

Some of Mr. Cacy's paintings will be familiar to those who regularly attend art exhibitions. Many works in this show were exhibited earlier this year at the Bermuda Society of Arts. That is not unwelcome, for interesting work is good for a repeat. One more thing: I could not help but notice that the prices being asked for Michael Cacy's art are very modest, indeed. There are some very good buys to be had at this exhibition.

The exhibition is sponsored by Select Palette Art. Those who wish additional information about this show, should contact Susan A. Pearson at: SPArt@logic.bm or telephone: 505-4290

The exhibition continues through September 24, 2009.