The current exhibition at the new Elliot Gallery on Jubilee Road is devoted to the fibre arts. It is an exhibition by seven artists who use various fibres in making art.

Essentially fibres are filaments derived from various sources, mostly plant or animal, examples of which are cotton, linen or wool. Human uses of fibres go back to the earliest times and were employed in many diverse ways. Such crafts as spinning, weaving, knitting, quilting, embroidery, tatting, lace-making, as well as paper-making and basketry, all use fibres.

Even in this present exhibition, fibres are used in manyfold ways, and all but one employ one or more of the above-mentioned crafts.

The exception is Will Collieson, who uses wood and bristle as fibrous materials, in his contribution to the exhibition.

Along the north wall of the gallery, Lynn Morrell is showing a series of six wall-hangings. In making these, Ms Morrell used various techniques, but quilting is dominant; she also embroidered, dyed, painted, beaded and printed. Each work depicts some aspect of rain. such as 'Shower', 'Downpour', 'Puddle' or 'Pitter-Patter'.

Since these works constitute a series, hopefully they will remain together. Logically 'Shower' is the first of the series, for all derive their individual qualities from rain and of course, we, as Bermudians are all super conscious of rain, even its smell.

Ms Morrell's use of reality is not a slavish copying of a scene; it is more a suggestion of reality, but it is most effective.

Fiona R3's (Rose Rodriguez Roberts) most conspicuous work in this show is 'Nub'.

It is a large, knitted object hanging from an entwinement in the rafters above, to end in a large red knob resembling a Weaver Bird's nest or possibly a womb. Within is a woolly, red egg-like ball of spun yarn. The link between nest and womb is obvious, but it gives the work a depth of layered meanings. I understand that the artist not only knitted this work, she also spun and dyed the wool.

At the west end of the gallery is a table covered with colourfully knitted wool caps. These are by Jean Rodriguez. They appear like inverted nests and as a group, they stand out, because of the strong contrast of a multiplicity of colours. The work is entitled 'Jeanie Beanies'. Although each cap may function as an individual creation, I see the collection working best as a single work of art.

At the other end of the gallery, Mrs. Rodriguez is showing what appears to be a knitted game of checkers. It is called 'Your Move'.

Kathy Harriott is a multi-talented artist but in this exhibition she is showing her wire and plaster constructions. Again, all seem nest-like. One might question wire as a fibre, but since it is extruded into a long filament, it is perceived at least, as fibre-like. Two of her works are entitled 'Vessel 1' and 'Vessel 2'. This suggests containers of some kind, but as such they are limited, in that they are full of holes and thus could hold almost nothing. They resemble a North American Bald Faced Hornet's nest. These are large, roundish, grey paper nests that hang in trees and Ms Harriott's constructions are even the same colour.

Hanging on a nearby wall is 'Basic Needs'. This is a group of nest-like pieces that resemble nests of Mud Daubers or possibly swallows.

The nest theme in this exhibition seems to be metaphorical with a multitude of meanings centring around such issues as security, fecundity, investment, dwelling and feminism generally.

This is not the only metaphor in the exhibition, however. Meredith Thatcher is showing a boat-like construction called 'Life Raft', which is also a container-type structure, but in this case, it suggests rescue, security and something to which one looks for protection.

Myra Aubrey is using fibre as a material for jewellery, as does Fiona R3. In Ms Aubry's case, she uses a red, kinky-like fibre which evidently is synthetic. Within this tangle are mingled white, coral-like attachments. Fiona R3 uses felt along with wire and beads, to make her necklaces. One is amusingly named "B.L.T." It does appear as made with miniature sandwiches. All the artists use materials and techniques that are traditionally employed in the crafts, but here they are exhibited as fine art.

For some there is a distinction between art and craft and for them, art is superior. If it utilitarian, they consider it to be craft and generally, this is reflected in pricing. Crafts are often considered of lesser value. So what are the works in this exhibition? Some are utilitarian, but most are not, yet the pricing suggest craft. For me it is not an issue.

Craft, at best, is just one category of fine art. All artists should be craftsmen and all craftsmen should be artists. In this show, they are both.

The exhibition continues through December 21.