This article is the third part of my review of the Bermuda Biennial exhibition at the Bermuda National Gallery.

Kevin Morris has been a frequent Biennial exhibiter, but with his current contribution, the Prospect of Immortality, he has outdone himself, given the size and complexity of the work This is a work that can literally be read, as it consists of words that recall historic names and events, with an emphasis on the occult.

Rachel Simons’ exhibit is another example of social commentary. It consists of a video, plus an embroidered fabric panel which is about the attempt on the part of tourism, to create a kind of tourist camp, with tent-like cabanas at Nine Beaches, in Somerset. The embroidered panel comments on the failure of the project and suggests that the only positive is the possibility of swimming with the turtles.

Edwin M E Smith’s packaged painting of a pawpaw tree is wrapped as if ready for export to the UK. It’s called UK Bound which is a unique idea that symbolises the increasing tendency of Bermudians to relocate elsewhere, the UK being a favoured location.

Sophie Stubbs’ photograph is a charming expression of a child being naturally a child. It depicts a small girl, having found a couple feathers, she places them on top of her cap. The cast shadow enhances the episode.

Stubbs’ approach to photography is influenced by the street photography of such as Rebecca Norris, who says her photographs are more instinctual than intellectual. Part of the attraction of Stubbs’ picture is its naturalness and its casualness.

Michael Walsh’s For Getting Nothing (In response to the poem Paper Skin by Alan C Smith) is a kite reminiscent construction that recalls his earlier 2010 Biennial submission, Evoking Nothing. His earlier 2010 installation consisted of an assembly of five separate, albeit related works that recall Russian Matryoshka nesting dolls.

In that installation, there was a gradual progression from tall to small, making it even more like a Russian nesting doll. That installation was of recycled corrugated cardboard, which afterwards was taken and placed in a local garden and allowed to disintegrate to nothing, hence its title, This work was seemingly weighty.

Walsh’s current Biennial work recalls that earlier nesting doll form, but in this instance, its a single form which in its construction, appears, unlike its earlier cousins, to be light in weight and again unlike its earlier iteration, which was firmly grounded, this one is hoisted against the ceiling, recalling some kind of kite-like being. Its title, For Getting Nothing, appears to be a play on words, referring back to the earlier installation.

Then BNG Bermuda Biennial continues until January 4, 2025. Its a splendid show which is certainly worth the effort to see it.

Before I finish, its newsworthy to learn that the National Gallery is expanding its biennial concept by inaugurating the Junior Bermuda Biennial, which is to open this coming November.

The BNG invites artists ages 5 to 17 to submit up to three artworks for the exhibition. Submissions as now open and application and instructions are available online. However, the deadline is this weekend. Applications must be sent in via www.bng.bm by September 29.

This is an exciting new addition to BNG’s flagship exhibition ,which has been running now for over three decades. The new Junior Bermuda Biennial provides the island’s youngest artists with a national platform to showcase their talent in a professional gallery setting.

Molly Bretton, head of learning at the Royal Academy of Arts in London will serve as juror for the inaugural Junior Bermuda Biennial.

Bretton champions the importance of art in education and was instrumental in establishing the RA’s Young Artists Summer Show. She will be selecting the artwork based on originality, unique imagination and technical skill.

Young artists, this is a wonderful opportunity and there is no fee in entering. We look forward to your seeing your art.