The current exhibition at the Bermuda Society of Arts, entitled, 'Artists' Voices', is unique because it is an entirely open and unjuried show.

By that I mean, it is open to everyone, members of the BSoA, as well as non-members and even without the usual exhibition fee.

Artists, beginners and professional alike, have turned out for this occasion and as may be expected, the range of styles, as well as skills, is very wide.

Not surprisingly, a number of artists have given voice to their concern and even anger at the eviction notice given the BSoA by the Corporation of Hamilton.

The one piece of protest art that stands out from all others is a relief print by Vaughn Evans entitled, 'Fortissimo'. In it the City Hall is a backdrop to a funeral procession for the BSoA. The BSoA casket is being transported by a horse-drawn wagon, followed by a huge crowd of mourners walking behind it. All this is on the left of the composition. To the right, flying out the window of the Mayor's parlour is a flock of turkeys. In the background hovers a billboard with the giant letter, SHAME. Indeed!

A number of others have also voiced their protest. One was a watercolour by Molly Godet, entitled, 'Rest in Peace BSoA (1961 — 2008)'.

Another by Anita Prowse-Simon is a large round collage that boldly says, 'Hands-Off (BSoA)'.

One of our younger, up and coming artists, Keva Ingham has a piece called 'Hard Feelings' which contains the messages, "Do not evict" and "BSoA will not go".

Vaughn Evans, along with his grandson, Caleb Evans, have created an airplane-like object, which then has a BSoA petition paper hanging from it.

This brings me to an important point. The BSoA have initiated a petition that all are urged to sign; hundreds already have. It is available in the BSoA gallery. Ask for it!

The uncertain fate of the BSoA has been hanging over the heads of the artists for the two months without resolution. What the City fathers are presently thinking, is anybody's guess, but their silence is telling.

However, if they think that by just sitting-it-out, the issue will go away, they must be in La La Land.

There is one highly effective way for the issue to disappear, however: rescind the eviction and give the Bermuda Society of Arts at least a five-year, renewable lease. That is the only way this issue will go away.

Consider this: The Bermuda Society of Arts gallery is purpose-built and to change this space into offices will pervert the original plan and intention of the building.

The Hamilton City Hall is a landmark structure which was not only built to house the City offices — they could be almost anywhere — but specifically and also intentionally, it was to be an art centre. What the present Corporation is intending, utterly disregards the original focus and shows disrespect for both the building itself, and the goals of the original planners and makers.

Do the City fathers really want this "albatross" hanging around their memories? I wouldn't!

Incidentally, I have heard several individuals suggest that the Masterworks Foundation and the BSoA join forces in the new Masterworks Museum in the Botanical Gardens.

This is an unworkable idea and a non-starter from the outset, for the Masterworks Museum of Bermuda Art, even with its new space, has little enough room.

Certainly there is insufficient space for joining forces with the BSoA, not to mention that the two organisations have entirely different purposes.

At the time the exhibition was opened, a number of prizes were given away to selected artists.

Interestingly, the Mayor was one of those selecting the awardees. He did not, however and not surprisingly I suppose, select any of the protest art.

The Minister of Cultural Affairs did and Mr. Evans shared first place with Kevin Morris. The Mayor's choice was a piece by Anne Powley entitled 'Steps'.

Other awardees were Vanessa Bean, a recent graduate from the art programme at Bermuda College and Alan C. Smith.

Nicole Ratteray received an honourable mention.

This is a large show, displaying 107 works. Space does not allow complete coverage, but I will do my best to give something of its range and flavour. As I walked through the exhibit, certain pieces stood out.

One, called 'All the Better to See You With', is basically a black and white photograph of a wolf, but its eyes are yellow, penetrating and fierce.

Another photograph, 'Fire Line' by Eric Hirschberg, captured my attention. It depicts details of tree bark that is notable for various textures and colours, including green algae and reddish bark.

Anne Kermode is showing several paintings that seem influenced by Australian Aboriginal art.

Karen Phillips-Curren has a group of mixed media creations, which are actually hand coloured, Polaroid transfers.

Amy Evans has an unusual composition entitled 'Hanging'. It depicts what appears to be wires or rods hanging from an unidentified object. Basically it is an abstract.

Other works that caught my attention are a painting by Vernon Clark called 'A Long Winter's Nap'.

Llewellyn Emery has several examples of wood, lathe turned bowls; one in particular is notable, not only because of its size, but also because of the wood used is Bermuda black ebony.

Alice Coutet contributed several paintings for this show, but the one that "grabbed me" is called 'Butterfly Cocktail'.

Two digitally produced creations by Mathew Clifford are notable, but untitled.

Suzette Matson has been working in encaustic or pigmented, hot, molten wax and the examples exhibited have a wonderful lustrous sheen. I noted a piece called 'Silver View With Word'.

The exhibition continues through March 12, 2008.