Because Bermuda has such a small landmass with a relatively large population per square mile, it is a fairly crowded community. Still, the total number of residents is only about 65,000, which means we are no larger than a small city elsewhere.

The Bermuda art community, although growing, is, correspondingly small. Because of this, we local art enthusiasts get to know most of our local artists and because the art community is small, there is a tendency for some of our better known artists to dominate local exhibitions. This makes for a less than interesting art scene and for me, reviewing their exhibitions, a problem. It is difficult to write anything fresh, especially when so many exhibitions are variations of the same, safe landscapes. I suppose that for the local viewing public, this sameness is also tedious. Whenever someone with a fresh artistic vision puts in an appearance, however, they stand out as extraordinary, in contrast to the average kind of stuff we usually get.

It was earlier this year, at the Masterworks Charman Prize Exhibition, that I first saw a painting by Christina Hutchings, or even became aware that there was such an artist in our midst. I remember asking Tom Butterfield, Masterworks Museum Director, about her, for her painting was by far and away, the most sophisticated in the entire show and I was puzzled that such accomplished work, by a Bermudian, should have escaped my attention until then. Later, I was able to meet Christina Hutchings at a National Gallery function and then her see her contribution to the National Gallery's Biennial.

Christina Hutchings studied art with a major in painting at the Tyler School of Art in Philadelphia, graduating with a BFA in 1976. She then went on to study architecture at the University of Virginia, graduating with a M.Arch in 1983. It seems though, that she has continued to practice in both disciplines and has an impressive record of fellowships in such prestigious institutions as the Skowhegan School of Painting and Sculpture in Maine, The MacDowell Colony in New Hampshire, the Edward Albee Foundation on Long Island and the Virginia Center for the Creative Arts. Ms Hutchings has also exhibited in such cities as Rome, Philadelphia, New York, not to mention Bermuda.

Despite Christina Hutchings' notable artistic background, she is fairly unknown in Bermuda's art circles. That is because she has spent considerable time working elsewhere. That brings up the question; who from Bermuda is making their artistic mark in other places away from the Island? Occasionally I hear of such and given the fact of Bermuda's artistic insularity, it is hardly surprising that our artists are attracted to other, more productive opportunities, in other countries.

Currently Christina Hutchings is having her first solo exhibition in the Rick Faries Gallery of the Masterworks Museum. That said, and as impressive as her curriculum vitae is, it is this exhibition that really counts, as regards this review. How does this show stack up against her reputation?

It is practical to divide this show into two sections, for, in creating it, Christina Hutchings has employed two different, albeit related techniques, one being intuitive. The other, more planned, each piece going through a complex process, from sketches in her sketch-book, to the final, finished painting. The small collages in the intuitive section are noted for their spontaneity and are made with materials found around the studio. The planned section is on a much larger scale. Her work in both sections, is informed, not only by her experience as a painter, but also as an architect.

When I first saw the show, the word that came first to mind was nautical, but when I spoke to Ms Hutchings about that impression, she said that although she found the shapes and colours of sails, buoys, signal flags, maps and charts engaging, she stated that she was not really all that much of a boat person. Overall, however, there is an underlying geometry, with both the intuitive collages and the large, thought through paintings, that suggests the yachting world.

There are two paintings in the show, however, that stand out as being somewhat different from the others. I refer to Game Board 2 and 3. These recall for me, the work of that Swiss polymath, Max Bill, who was not only an architect, but also a designer, sculptor, painter, educator and writer. Although somewhat disparate from the show's other exhibits, there is yet in these two paintings a geometric commonality with the exhibition's other works. These paintings are in gouache, as are many of the others. Gouache, which is an opaque watercolour, is noted for its mat, even finish. These qualities make it an especially appealing medium. As for the actual colours, shocking pink dominates #13, whereas, in #14, it is antique yellow.

Of the intuitive collages, one in particular caught my attention. It is entitled Breeze. Its design is simple enough, its most conspicuous aspect being a flag-like orange and muted blue area, that appears to be flapping from a slightly diagonal line that crosses from top to bottom. Its being simple, however, does not equate to being simplistic. Quite the contrary, with considerable economy, this work conveys multiple massages. First there is the concept of flag with all the possible symbolism and history that goes with it. Additionally, the way the flag appears to wave, suggests wind and motion. Even the diagonal line to which the banner seems attached, is more dynamic than say, a vertical one.

Another, even more minimalist creation is School Yard Gust, yet, it too, conveys wind and movement. The design consists of just one, rather curvilinear shape that converges to a point at one end, the other seemingly a straight, diagonal edge. In colour, it is a darkish blue, set on a white ground, but with pale blue lines that seem to tether this dynamic form, that appears to want to fly away with the wind. I cannot help but relate it to some of the minimalist painters of 40 years ago, especially Ellsworth Kelly, however, according to the artist, the idea for this work is rooted in a memory of her school uniform skirt and being in the wind during recess.

The large paintings are also spartan, but because they are larger, there is scope for more complicated considerations. I think of High Tide as an example. This painting is divided horizontally into two, equal areas, the upper part being a dark blue, the lower, white. Slightly above the the apparent horizontal horizon line, there is another parallel white line. These two horizontals, one above the other, convey a sense of upper and lower, or, if you like, high tide and its counterpart, low tide.

The two blue and white fields have superimposed on top, an array of crisscrossed, diagonal lines that meet at specified radiating points. These bring to mind, the lines found on antique nautical charts.

Because of the two, blue and white fields that underlie these lines, the artist has resorted to using white lines on the blue and dark on the white. When there is a continuous line across both fields, the line changes colour at the edge separating the blue/white fields.

These two large paintings, High Tide and Bermuda Map With Signal Flag are painted on thin plywood panels and are very large, indeed. My first impression was that they are made from one piece of plywood and since their dimensions are considerably larger than standard plywood, I wondered where the artist had possibly found this material.

As it turns out, the artist has very carefully joined three pieces together, but in such a way as to make the seams undetectable. Hide Tide is 101x70", Bermuda Map With Signal Flag is 98x63".

Looking over the list of titles in the catalogue, I find a number that are intriguing. For example, Study for Decision Painting or Cold War Boomers. Being a practicing artist, myself and knowing that coming up with suitable names can be difficult, I wondered what process the artist used in formulating her titles, after all, titles are an extension of the physical work and somewhat like naming children. The title is an important aspect of the work's identity.

From my perspective, I want the title to engage the viewer, without it being obvious. In other words, I want viewers to bring to the work, their own experience, so that there is a dialogical interchange between work and audience. In discussing this with Ms Hutchings, I learned that with her, there is no particular process.

Sometimes she comes up with a concept that seemingly makes it own title, almost before the actual painting has begun. At other times, the process of painting generates a title. Often the title comes by trial and error, after the actual painting is finished.

The exhibition consists of 35 paintings and collages. Although I wish I had the time and space to consider every one of them, that is not practical. I recommend, however, that the viewer, take the time to contemplate each one, for they are all worthy. This is an extraordinary exhibition that continues through September 14, 2010.