The Bermuda Society of Arts is fast developing a reputation for unusual and sometimes provocative exhibitions. Often there are several different shows going on at once, within the Society's various and flexible gallery spaces and sometimes the mix is surprising. The current shows are no exceptions.

At the southern end of the Onions Gallery, there is a three-man show, featuring the work of Milton Hill, L. J. Kersley and Frank Chiappa. The rest of the Onions Gallery and the Edinburgh Gallery is devoted to a show entitled, "Mindframe Photovoice". The latter show is a large one, showing a variety of creations by guests from the Mid Atlantic Wellness Institute. Although these exhibitors have their own particular challenges, the work displayed demonstrates that many are talented artists. Additionally, what they have created, expresses their own exceptional visions and points-of-view and that is fascinating.

The noted French, 20th century painter, Jean Dubuffet was greatly influenced in his work by the art of those who were mentally or emotionally challenged. The particular book that most influenced him was Dr. Hans Prinzhorn's "Artistry of the Mentally Ill". The visionary rawness of their creation appealed to Dubuffet, just as the crude strength of African tribal art or Pre-Columbian sculpture appealed to such as Picasso, Jacob Epstein or Henry Moore and for similar reasons. All had a directness and power that contrasted with the more civil but tamer approaches found in much of western art up to that time.

The so-called "Intuitives" from Jamaica are another example of visionary artists. These latter artists were untrained and artistically uneducated, but their circumstances forced them into another way of seeing and their unique visions are what makes their art important.

It is well known that a number of renowned artists suffered from various forms of mental and emotional illnesses, amongst them: Vincent van Gogh, Edvard Munch, Georgia O'Keefe, Jackson Pollock, Mark Rothko and even Picasso, come to mind. It is evident that mental illness does not negate artistic talent. Indeed, it seems, in some of these cases, at least, to have been an important component in their artistic vision.

Digital photography dominates the MAWI show, thanks to a generous gift of 30 digital cameras, compliments of Argus Insurance. I have no knowledge that any of the participants had prior experience with photography, but in order to facilitate learning, Tamell Simons, deputy chief photographer of The Royal Gazette, and Neville Trott offered instruction and in the case of Tamell Simons, guidance on field trips to Dockyard and Ferry Reach. Additional assistance in producing this show, came from Pembroke Rotary Club, Colour Lab and Frameworks.

Of the many photographs in the exhibition, I especially noticed a joyous composition of flowers called, "God's Cheerful Delight". Another notable picture was #98. It depicts a wall covered in graffiti. This is a black and white picture. Others to watch out for are: "Fish Under There", "Angles of Reflection" and "No Admittance".

But not all is photography in this exhibition. More traditional media, such as ink, pencil, watercolours, acrylics and even oil paints are employed for expressive purposes and the work of a number participants is exceptional. There is a series called, "As Seen", which is worth seeing. Also look out for a couple paintings called "Bird" and "Bird laying an Egg". What is special with these two paintings is that the artist has been able to captured a sense of motion with his energetic brushstrokes. An intense creation is #30, "Frustration". This highly expressive work employes exaggerated colours and lines to effectively convey the emotion of frustration.

Of the large group of participants in the MAWI show, 12 have made statements about their experiences in putting this exhibition together. because of space constraints, I can only quote a couple, but I think they are very revealing of the importance of this undertaking. I have selected two samples.

"This is a good experience. The thought that they trusted me with a camera that wasn't mine was nice. I enjoyed the whole activity because it put me to work taking lots of pictures. I like working with other people, getting to know other people and I felt like I wasn't alone.

"It was fun and Tamell was cool and he showed different ways to take pictures. It was a good thing to be involved in. It is a good programme to have. I enjoyed taking taking photos of the beauty of the foliage. I enjoyed being with people."

Of note is the guidance of the two occupational therapists at MAWI, who are largely responsible for all the details in putting this show together. They are Teresa Law and Helen Robinson.

I began this review with mention of the three-man exhibition of Milton Hill, L.J. Kersley and Frank Chiappa at the southern end of the Onions Gallery. Although this is a small show, it is nonetheless impressive. Milton Hills and L.J. Kersley specialise in model ships, but to call them models seems so inadequate, yet I am at a loss to describe them any other way. Of the two, Mr. Hills creations are the more poetic, while Mr. Kersley's boats are larger and more detailed. I understand that they take up to the better part of a year to produce and that I can well believe. Given the work and skill that both artists obviously put into making their ship models, I am also impressed that their prices are so modest.

The making of these scale models require, not only the manual skills for making them, much prior research into the dimensions and appearance of each ships is also essential. Most of these models are of historic vessels and I note that both Mr. Hill and Mr. Kersley have made models of the Sea Venture, which is fitting on this, our 400th anniversary. Other such ships include a Bermuda Gig and a Baltimore Clipper by Milton Hill. The latter is of interest, for I understand that this type of ship was influenced by the Bermuda sloop. Both Hill and Kersley have also made models of the Deliverance. Mr. Kersley's ships include, HMS Victory, Cutty Sark and the America.

Frank Chiappa is, more than anything, a surrealist. By that, I mean, his reality is one of surprising juxtapositions, that include symbols reminiscent of native American designs. This observation is reinforced by several titles in the catalogue, such as, "Nazca Peru" or "Aztec Calendar". Although some of his paintings are colourful, he is at his best when restricting his designs to the monochromatic. Of these, I especially found "Lady in Blue", "Nasca Peru", "Revolution" and "Nazca Whale", the most successful. All his paintings are oil on canvas.

The exhibition ended yesterday.