they view his latest one-man show at the Windjammer Gallery.

The well known sculptor has, in effect, come full circle, returning to the paintings and etchings that dominated his work as one of Bermuda's most promising young artists.

While his latest show includes sculpture, he will also be displaying ten or 11 oil paintings -- most of which were painted in France -- as well as some of his most recent etchings.

"When I left college, I couldn't afford to work in bronze so I spent the next eight years painting so that I could save up to do my first piece of sculpture,'' he explains. "When I actually began, it really took off, to such an extent I barely had time to eat or breathe -- sculpture consumed every moment of creativity -- but I really missed painting. Eventually, I reached the point where I couldn't even see the roses, never mind smell them!'' Now, as he spends more and more time in France where he lives in an old winery just north of Bordeaux, Mr. Fountain says he is re-discovering the joy of working in media other than bronze. "I got myself a press over in England which weighed about 500 pounds. I had to take it all apart before I could move it by car over to France. I feel,'' he laughs, "rather like a renaissance man -- going back to all the materials I used to use. I wanted to experience the joy of re-discovery, so I refused to read a book on how to use the press for my etchings. I just wanted to try and remember how to do it.'' One of the problems in returning to painting after such a long time, he says, is the `loosening up' process. "My sculpture was far more formal, so there was a mental jump involved.'' Admitting that he feels "funny'' about letting go of his paintings, Mr.

Fountain explains that unlike sculptures, which are produced in various editions, each oil is truly a `one-off' creation. "I was very concerned about the juxtaposition of colours -- it's almost like pointillism when you put colours and hues together so that they sing rather than hum! That's a direction I am hoping to be able to work towards. Having been such a formal artist, the possibilities of this new freedom of using colour in different ways that are not literal, but more interpretive, is really exciting for me.'' Noting that Rembrandt never made editions of his prints ("the plates just evolved''), Mr. Fountain says he rather likes this idea of working on the plate as he goes along and changing it as the mood takes him, "without making the entire edition. For me, it's another way of breaking away from the restrictions of how I used to work. Everything is so different now and I find that very exhilarating.'' Sculpture enthusiasts, however, will not be disappointed: there are, for instance, some striking `golden', sweeping-caped gombeys. "I love their movement,'' he enthuses. "They were actually modelling in my studio, but I took some photos.'' Explaining that he has made editions of 12 small figures, he says that, because of the intricate folds and decorative features, all of which has to be chased by hand, these actually cost more to create than most larger works.

Another new piece is a bronze study of his studio assistant's young daughter.

"I decided to call it `Primary Colours' because in the pose, she is painting.

Then I discovered it was the name of a film, but, so what? I have had a wonderful time preparing for this show -- and it will certainly be different!'' `Multi-Dimensional Man' opens with a private preview at the Windjammer Gallery (corner of King and Reid Streets) this evening and opens to the public tomorrow, December 4.

MULTI-DIMENSIONAL MAN -- Desmond Fountain, pictured with some of the artwork to be shown in his one man exhibition which will be staged at the Windjammer Gallery.