The exhibitions currently on show at the Bermuda Society of Arts are notably diverse. In this review, I will consider three of the four exhibitions. The one I cannot evaluate is a show of work by myself and Will Collieson. Of course that would not be appropriate.

In the Edinburgh Gallery, there is an exhibition of paintings, prints and photographs by an art group from Dorset, with emphasis on Lyme Regis. The show is called, "Dorset As Muse".

This is in conjunction with an exchange exhibition in which Bermuda-based artists will exhibit in Lyme Regis, beginning next month. This exhibition is a part of the quartro-centenial celebration of Bermuda's founding. As is generally known by most, Lyme Regis was the home town of Sir George Somers and the town itself, is twined with St. George's. Although the show is basically about the Dorset landscape, it is stylistically and technically varied. That makes for greater interest. There are 24 works on exhibit.

Of the 11 artists exhibiting in the Lyme Regis show, one is particularly familiar to the membership of the BSoA and others here in Bermuda. I write of Carolyn Finch, who lived and worked here in Bermuda for a number of years and was on the governing body of the Bermuda Society of Arts. Her two oil paintings, like the others in the Dorset group, are primarily based on landscape. Her contributions are: "Barn Reflections" and "Misty Morning".

Those of us who recall her precise renderings of Bermuda architectural details, such as an old, paint-peeling shutter, will be surprised by Ms Finch's soft renderings of the countryside, but then both her views are of misty landscapes.

The principal organiser of this exhibition is Hugh Dunford Wood, who, at the moment, while not dealing with this exhibition, is out painting the Bermuda landscape. He has several Dorset landscapes in the show, but also a portrait; a topic of special interest to him.

Michael Blooman is a printmaker, as well as a painter, but for this exhibition he has produced a multi-coloured linoleum-cut of the cliffs and foreshore to the east of Lyme Regis. That particular piece of coastline is known for its fossils, especially ammonites and these actually appear in the print. The making of this print required a complex process of multiple plates; one for each colour.

To the average viewer, the print probably appears attractive enough. Most will not realise, however, just how labour intensive the process is.

Another printmaker in this show, is Liz Somerville, who is also a maker of hand-coloured linoleum cuts of the Dorset countryside and coast. Hers are also well crafted and notably graphic in design. She is showing three prints.

Roger Mayne and Peter Wiles are both photographers. Roger Mayne's one photo is of a dark and brooding day showing a distant hill. It is called, Colmers Hill, Symondsbury. Peter Wiles has two photos of the waterfront at Lyme Regis, but both are under differing light and weather conditions. In one instance, it is snowing and moody. With its muted colours, it looks cold. The other photograph shows Lyme Regis in a late afternoon light in winter. The light is the shop windows provide a sense of warmth.

I was drawn to the bold, textural depictions of the land, as seen in the mixed media paintings of Frances Hatch. It appeared that she is actually mixing something of the land, such as sand, in with her paints. An example of this will be seen in her, "Rock salt, Purbeck".

Another artist whose boldly textural works are the most expressive, is Christine Allison. Her depictions of sea and sky are especially gestural in brushwork, this being the most conspicuous aspect of her style. In that respect, while never quite loosing touch with her subject, her paintings are also fiercely abstract.

In contrast to the rougher, coarser paintings just mentioned, are the refined oil land and seascapes of Marianne Gibson. An example of this will be seen in her "Phthalocyanine Sea". The title refers to the chemical make-up of the blue that dominates her painting.

Other painters in this show are John Boyd and David Kennard. Both paint the landscape of Dorset. This often overlooked English county seems to be popular with Bermudians, mostly, I assume, because of our connection with Lyme Regis. I recommend this exhibition and look forward to participating in the Bermuda exchange exhibition in September. The idea of exchange is encouraging and can only help the development of the visual arts in Bermuda.

In the neighbouring galleries at the south end of the Onions Gallery are, again, two unusual shows. Continuing the celebration of our 400 years, the exhibition of photographs by Eric Somers is particularly interesting in that he is a descendant of the Somers family, Sir George being possibly the best known, at least to Bermudians. Apparently Sir George has no direct descendants, but his brother did and our current exhibitor descends through that line of the family.

His exhibition is titled, "Bermuda Rediscovered". This is about his own, personal discovery of Bermuda in March 2009. His photographs concentrate on St. George's and stylistically they are tend to the minimal, both in the limited use of colour and also the simple and restricted use of subject matter. As an example, note that Somers often concentrates on only one object, such as a window, door, or palm.

The simplicity of his photography, I find appealing. Furthermore, his presentation, that is, his frames and matting is equally simple and minimal. This is fitting, considering his stylistic preference.

Next door to the Somers Exhibition is a most unusual exhibition. Its title is, "From My Perspective". To even enter this gallery, it is necessary to bend down and this is an important introduction to the show. This small, but exceedingly necessary exhibition, is about being confined to a wheelchair and the limited perspective that this involves including the difficulty encountered in actually using a camera.

In conversation with one participant, I learned about the difficulty, if not impossibility of being able to activate the camera's shutter. I wondered whether there is an aid of some kind, to help individuals in this situation and I actually telephoned a camera manufacturer, as well as a large camera retailer.

I found that there is no such device, which is unfortunate. I did take the opportunity to suggest that they might consider making such a apparatus and I was assured the suggestion would be given to the correct department. We can only hope they take it up.

This show features the work of three artists, Kristen Badenduck, Joseph Hunt and Keith Simmons. In several photographs, I was struck by the expression of limitations. I am not certain if this is intentional, but especially in the pictures of Joseph Hunt, there is usually some kind of barrier, such as a wall or fence dominating the composition. I imagine that this is truly his perspective. From the viewpoint of a wheelchair, this would be the norm. This really is a must-see exhibition. It is that important.

These exhibitions continue through August 12.