`Growing:' Reaffirms ones' faith in Bermudian art It's not often that the BSOA puts on a show of consistent high quality.

That is not necessarily a criticism, after all, it's hardly surprising when you consider the society's mandate -- to provide a forum for artists of all abilities to get together and show their work.

Society president Bruce Stuart, in a recent newsletter, made a rallying cry to the troops: "So with the last few exhibitions of this century, lets get more involved. Enter your work! And also do something really cool... introduce someone new to art.'' All fine sentiments I'm sure you'll agree. Nothing wrong with that say I.

But in the same newsletter Stuart makes another point: "We artists and patrons of the arts have to change gears and get into action. We have lost two major galleries from the face of the Island.

"Times are changing and at first it might seem horrible, and it is. But what will we do?... work hard at creating a lively art scene. How can this happen? We must re-invent the art wheel.'' It is this show that illustrates more than anything else put on display this year, that Stuart's enthusiasm is misplaced. Quality is often the first casualty of quantity and what we have here is a selection of high-quality works by a small band of talented people. It's shows like this that will get more people involved, that will inspire and please and enthuse.

`Growing' proves to one and all that the art scene in Bermuda is alive and well and indeed thriving. It proves that there is a clutch of talented, skilled and gifted artists who are producing work that has been "worked out from our Island experience which makes it unique and very much Bermudian'' -- another goal of the society according to Stuart.

The art wheel doesn't need to be re-invented but perhaps the powers that be should be more selective when putting on shows. Is it any wonder that galleries are closing down when Bermuda seems to have more artists -- or people who are continually encouraged with false praise and told that they're artists -- then we do patrons? A blossoming art scene also needs some careful pruning now and then as this show clearly demonstrates.

So on with the show. This year Graham Foster and Jonah Jones have joined Growing regulars Sheilagh Head, Kris Jensen, Elmer Midget and Marion Watlington-Vorley, all of whom exhibited in the last Growing show two years ago.

Have the artists grown in themselves in the past two years? Well frankly no, not on this showing, and this is perhaps the one disappointment of the exhibition. With the exception of Graham Foster, who has submitted a number of terrifying sculptures, there is little to surprise.

Not that that is a bad thing. Sheelagh Head fans for example are in for a treat. I don't think I have ever seen so many of her works gathered under one roof.

I have frequently droned on and on about Head's masterful technique, her relaxed, almost lazy style which allows her work to be imbued with her obvious love of nature and the Bermudian landscape which shines through her work.

There's not much new to say here other than it perhaps proves the adage that there's no such thing as too much of a good thing.

A visit to New Hampshire has also proved to be an inspiration to the artist. A number of oils produced during her trip are on display here and serve to illustrate Head's eye for conjuring up the atmosphere of a place. Nature and man's relationship with his environment are key themes that seem to have aroused the interest of all six artists here.

The bulk of Jonah Jones' work here studies man's playful relationship with water in such works as `A Day at the Races' and `What's Your Number'.

Most artists it would seem have strengths and weaknesses from a technical point of view and Jones has yet to develop his skill as a painter of people.

Figures in many of his compositions seem awkward and out of proportion, almost robotic. (This comes as a surprise having seen one of his sketches of a sleeping figure at an earlier show this year.) He is at his best when painting nature and in particular the effects of sunlight and reflections on water. His landscape studies are also brimming with light.

As with Sheelagh Head, so with Elmer Midgett. Ironically the two artists have chosen the same scene (for example Teucer Place and Oxford Bay) as the subject matter of their work and it's interesting to see two different interpretations. Midgett has a style that is all his own, unique and yet still of a place.

Graham Foster continues his surreal twist with a series of acrylic studies based on an Aztec sculpture -- not so much dream-like as nightmarish.

While two of his three welded steel sculptures `Nature in the Balance' and `Fishing Machine' are a bit of a cliche (the symbol of a tree surrounded by human and animal figures, elevated from the earth by a crank-handle illustrates how technology has removed man from his roots), the third, `The World Fish' is a Frankenstinian creation that evokes feelings of both horror and sadness.

Marion Watlington-Vorley's technique can be crisp and precise, her watercolours, particlarly her palm studies are exquisite. But didn't at least some of her work appear in the last "Growing'' show of two years ago? The zebra studies certainly look familiar, even if they are beautifully done.

Similiarly with Kris Jensen, who's fascination with architcural detail hasn't wavered over the last two years. I may be wrong but I had a definite sense of deja vu.

Nevertheless, while some of the work here might be re-workings of familiar themes, what shines through is the undeniable quality of the work. Sadly, almost inexplicably to me, the exhibition only has a two week run and will close this Friday.

If your faith in Bermudian art has taken a battering lately, in fact even if it hasn't, this exhibition is a must see and one of the strongest shows of the year.

Gareth Finighan Toad on the Lawn: Displays artist Marion Watlington-Vorley's crisp and precise technique. It is one of the pieces by members of the `Growing' group on show this week at Hamilton City Hall.

SURREAL TWIST: Artist Graham Foster's Chacmool series (above: one of a series of 15) continues his work in Aztec-inspired acrylic studies.

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