It is well known that Sharon Wilson is a master artist and equally, a master teacher. Once again, she and her students are exhibiting their pastel creations at the Bermuda Arts Centre at Dockyard.

Having previously reviewed several of her exhibitions, however, as well as those by her students, I, when considering a review of this current show, "Pastels IX", was anxious that it not repeat anything resembling my earlier reviews. But that presented a difficulty, or so it seemed. Some exhibitions are a challenge to write about. At times, the work is so unskillful, it is tough to come up with a positive response. In the case of "Pastel IX", the opposite is true.

This annual exhibition is always one of the more distinctive shows in the exhibition calendar. but the fact that this show is always about pastels, and considering that it is always an exhibit of work by the instructor, plus her students, this can make for a certain sameness. Just how was I to write a review with fresh insights?

That was my thinking, as, I made my way out to Dockyard, to see the show, but when I got there, all my concerns vanished. Although this exhibition is, at least, equal in quality to earlier ones and maybe even better, it is also refreshingly different. It seems that, generally, many of the works are more freely rendered. This provides a greater sense of spontaneity, as well as a degree of freedom in the use of line and the layering of colours. As in previous exhibitions, however, Ms. Wilson carefully guides her students in the appropriateness of presentation of each work. The frames are carefully chosen, as well as the mats. There is an over-all impression of excellence.

Most respond positively to obvious skillfulness in art, or for that matter just about anything that is handled with competence. Sharon Wilson has a great command of her materials and tools and her work shows it, furthermore, she has the ability to instill this sense of craftsmanship, not to mention, enthusiasm, in her her students.

Additionally, in this show, I think I detect a tendency towards a greater abstraction. I use this word, "abstract", however, in its original sense, that of a simplification of the natural subject. Picasso had it right, when he stated that "there is no abstract art. You must always start with something.

Afterward you can remove Afterward you can remove –all traces of reality".

A good example of this trend can be seen in a picture by Monica (Smith) Jones called, "Sylvan Dell". This work depicts a group of buildings, but with no concern for correct uprights, thus just about everything is leaning slightly. This provides considerable character and interest. Ms Wilson also has has a cubistic-like pastel in the show called " Stained Glass Washer".

It is my understanding that Sharon Wilson starts her new students by having them make a charcoal drawing. When that assignment is finished, it can either be considered complete, or the student can begin to add colour.

I find the mixing of coloured pastels with charcoal is an effective way to enrich the colour and avoid the delicacy, that is so typical of pastels. Pauline Monteith's "None So blind" is just such a charcoal drawing.

There is a small pastel in this show that caught my attention. I am thinking of a work called, "Chin Wag" by April Branco. What I especially favour in this work, is the harmony between the actual work and it's frame and mat.

Some may have picked-up, from past reviews, on my caution regarding the use of gold frames and I notice that in this show, that many of the frames tend toward silver and wood, but Ms. Branco has used a gold frame with this particular pastel, with great effectiveness.

When the Art Centre opened it's doors, twenty-five years ago this month, Sharon Wilson was an occupant of one of the five studios available to artists.

It is appropriate, therefore, that, as BACD celebrates attaining this anniversary, that one of the original artists, exhibit her work.

The exhibition ends today.