When the Bermuda National Gallery's Bacardi Limited Biennial exhibition opens tomorrow, it will feature what the three jurors -- Susan Masuoka, Director of the Tufts University Gallery; David de la Torre, Associate Director of Honolulu Academy of Arts; and Laura Gorham, Director of the Bermuda National Gallery -- consider to be the best of more than 300 submissions from 39 artists and photographers.

While admitting that their task of whittling so many entries down to a final 77 was "intensive'', the jurors expressed delight in the "breadth of media, style and subject matter''.

Indeed, the successful entries include sculptures, paintings, drawings, photographs, and an installation.

Applauding "the many references to Bermuda, its land, people and environs demonstrated an awareness and appreciation for a unique sense of place'', the jurors said that "in addition to pride in a national identity'', they saw "innovation in contemporary approaches, especially in works on paper -- printmaking, watercolour, pastel and drawing''.

"The works submitted represented a fairly well balanced group of representational and non-representational forms,'' they said.

While many of the successful artists' names are well-known here -- David Ward, Tracy Williams, Otto and Chesley Trott, Diana Amos, Will Collieson and Glen Wilks among them -- only two had the honour of having all five entries (the maximum allowed) accepted for exhibition: Graham Foster and Jonah Jones. For Mr. Jones, it was a case of "third time lucky,'' having been unsuccessful twice before.

"I was pleasantly surprised,'' he said. "I knew my work had improved, and being quite competitive I thought I'd enter again, but you never know until the final day.'' "It was a great surprise considering the high standard of entries,'' a clearly pleased Mr. Foster concurred.

For others, beginner's luck held good as first-time entrants, some of whom submitted only one piece, found themselves -- to their delight and surprise -- in the exhibitors' circle. Among them were Cherie Richardson, Alison Jones, Andrew Trimingham, and Louisa Flannery, a former art teacher who is now the National Gallery's Education Director.

Mrs. Flannery's lone submission, entitled Dreams of ..., and consisting of miniature uniforms hung upside down on a wire coat hanger, with a dangling cigarette butt, captured the jurors' imagination, even though its meaning remains a mystery to the artist.

"It came out of a dream of mine, which doesn't often happen with my art work,'' Mrs. Flannery explained. "At the time I was working at a middle school which had uniforms. Subsequently everything showed up in a dream and I jotted it down. When I look at it I am as lost as everyone else trying to figure out what it means. You can draw any reference you like. It is the beginning of a new style for me.'' Given the concern in local art circles about the apparent shortage of young people who will form the next generation of established artists, the successes of Miss Richardson and Miss Jones, both are whom are studying art abroad, are seen as particularly encouraging.

"It is a pleasure to be part of the exhibition,'' Miss Jones said. "I think it is really good to have artists of all ages, backgrounds and styles showing together, because we all have something to offer each other.'' Among the established artists, many of whom are household names here, there are many surprises, principally because their entries represent a departure from what viewers have come to regard as typical of their usual style or genre.

Surprising, too, is the nude study of a muscular male by National Gallery trustee Mr. Andrew Trimingham. Not only is it the artist's first-ever submission to a Biennial, but also it is not bronze metal, as the eye would lead one to believe. Rather it is a man-made material described as "bonded bronze''.

"It is intended to represent a slave as he might have looked back over the ocean across which he has just been forcibly transported,'' is how the artist describes the piece.

With a long-established reputation for creating the unusual, Will Collieson's The Experiment does not disappoint. Comprising of a large canvas bag with leather and copper nozzle suspended from the ceiling over an aluminium container containing sound effects and topped by tiny piglets, it conforms to the artist's belief that "art should raise questions, and not be separate from everyday life''.

"I like to blur the difference between art and life and make them completely the same,'' he explained.

Inventiveness and natural materials have always been National Gallery founding trustee Dr. Charles Zuill's strong suit as well, and on this occasion he produced two winning studies which include a liquid mixture blown onto paper with a drinking straw.

Antoine Hunt's sculpture of a sweet pear, Sessio Pirum, which is crafted of polished Bermuda stone, is as luscious as the real thing.

As always, Henry Ward's canvases are arresting, and his stark study of the former Joell twins against a jet black background is both powerful and impossible to ignore.

So too, are the nude sculptures of Manuel Palacio, and Tracy Williams' beautifully wrought water colours.

Similarly beautiful is architect and Bermuda National Gallery trustee John Gardner's watercolour, Hurricane at John Smith's Bay, which he describes as "a study for a mural at a grand scale -- 30 feet long at least'', and an "interpretation and record ... of the theatrical experience and Bermudian pastime of hurricane watching''.

Since Mr. Gardner states that his artistic efforts "are private, rarely exhibited, and virtually never for sale'', the jurors' selection in this instance must be regarded as doubly special.

Certainly, the viewer will find many contrasting and intriguing pieces in this Biennial, many of which have been seen in other exhibitions, but are well worth seeing again.

Celebrating Bermuda's identity Inevitably, the question arises: What criteria did the jurors use in making their final selections? In a written statement they listed these as: artistic quality, technical know-how, execution, and inspirational impact. Also considered were strength in painting, and works on paper, as well as work which referred to people, characteristics and traditions of Bermudian culture.

"In addition to pride in a national identity, we saw innovation in contemporary approaches, especially in works on paper,'' they stated. "We have been impressed with the talent and level of skill and proficiency demonstrated in this island country.'' Conscious that several artists closely associated with the National Gallery are among the successful exhibitors, juror and Gallery Director Mrs. Gorham was anxious to dispel any suggestion that she favourably influenced her fellow jurors' choices.

"It is part of Senior Curator Marlee Robinson's and my job to attend other exhibitions, so through becoming familiar with the artists' styles I was able to answer their questions.'' Both Mrs. Gorham and Mrs. Robinson stressed that the Bermuda National Gallery was meticulous in ensuring that there was no contact between artists and jurors until the latter's work was done to avoid any suggestions of influence-peddling, and noted that the visiting jurors had no idea -- and probably still don't -- that there was any connection between some artists and the Gallery.

"We consider ourselves fortunate that a few of our trustees and founders are also artists whose work is of a calibre able to be included in the Biennial,'' Mrs. Robinson said.

Concluding the official statement on their work, the jurors acnowledged that "Island life may have limitations, opportunities and challenges''; paid tribute to the artists whose works were accepted; and expressed confidence in the future of local art.

"The Bermudian art community, as exemplified in the biennial exhibition, is vibrant, active and alive. With this vibrancy, the art scene in Bermuda is assured, with an exciting future and great potential for growth,'' they said.

Noting that the present exhibition will also be a learning experience for students, Mrs. Flannery says the fact that the artwork has been produced by Bermuda's living, working artists will carry extra weight in terms of their appreciation levels.

Following its official opening tomorrow, The Bermuda National Gallery's Bacardi Ltd. Biennial Exhibition will continue until August 19.

Photo courtesy of John Gardner.

Blowin' in the wind: Architect John Gardner's watercolour, Hurricane at John Smith's Bay, provides a rare glimpse of his talents as an artist, and a fascinating study of a favourite Bermudian pasttime -- watching Nature's fury at close range.

Photo courtesy of Tracy Williams.

Eye for detail: Tracy Williams' watercolour, Santa Maria del Giglio, highlights the exquisite carving and architectural detail of an ancient church.