NJURIED shows open to all members are almost invariably uneven in quality and the Bermuda Society of Arts summer show of its members' work is no exception to the rule. The uneven quality is compounded by the wide variety of media on display, making a cohesive review nearly impossible. Moreover photographs are not shown with photographs, or oils with oils; the artists themselves are spread around at random rather than having their work grouped together. The result is somewhat dizzying in its confusion.

Christopher Grimes starts the show with an oil of a rooster titled , perhaps in compliment to Peter Lapsley's series. The rooster is suitably aggressive and colourful, but his painting style remains uncomfortably tight. So are the cows replacing the New Agers one is accustomed to seeing at Stonehenge. Not as tight but still giving that impression is his mist shrouded.

Peter Lapsley's series has diminished in number quite satisfactorily and the proceeds of those that have sold will be helping to support his studies at Parsons, a worthy enough cause. It must be said, however, that at the Society of Arts they do fall into the category of "d?ja vu all over again".

New to the art scene is local maritime historian Edwin Mortimer, the first of whose four oils, , is a graceful yacht sailing amongst the islands of the Maine coast in the late evening. The colour scheme is chilly and entirely apt, the composition well crafted and the paint deftly applied.

For a beginner, which I assume Mr. Mortimer to be, the style here is quite relaxed, which cannot be said for his other three works. If these works are indeed among his first, then one may look forward to seeing more of them.

There is talent enough to build another valuable sideline to couple with his historical writing and as his confidence builds his style will relax.

Kathy Harriott's abstract monotype prints in acrylic are all intriguingly composed and admirably coloured. The balanced pair, and are slightly less abstract than her other three, of which I found particularly fascinating. Monotype printing is far more exacting than the casual viewer might imagine and Ms Harriott has clearly mastered its complications.

Kok Wan Lee's acrylic abstracts of wild flowers are subtly composed and in a gentle colour scheme quite unusual in the work of this prolific artist.

Elsewhere he also has a group of charcoal abstracts set in geometric formats that are also in a gentler mode than his usual varied but more aggressive styles.

The obsessive and dizzying acrylics from the hand of Kevin Morris dominate one end of the gallery. From a distance they could be mistaken for colourful, coarsely woven cloth. Close up they are composed of myriad fine lines in more or less regularly intersecting patterns, some with tiny photographs interwoven amongst them. This is the kind of work that may either be easily passed by with a glance or require long minutes, perhaps hours of close attention to the endless fine detail.

There are, unusually, only two or three watercolours in the entire show.

Outstanding among them is Maggie Cormack'sdistinguished for its spare technique and deft colouring. Enhanced with ink and wax crayon and thus perhaps more complicated than was necessary, but nevertheless interesting in effect is her Also spare in technique as well as stark in effect is Molly Godet's, lost among bare tree trunks and shaded lawn.

Among the many photographs by Marcos Lequin may have been created digitally or may be a remarkable photographic moment where three longtails were caught flying wingtip to wingtip in tight formation. In either case the result is arresting.

Penny Hill's two still life subjects catch the attention both for their quality of colour and unusual subject matter. tiny and tarnished silver in colour amongst the surrounding grasses is, perhaps only slightly less fascinating than , where the remarkably coloured rocks make a fine abstract photo. Among the usual plethora of other travel photographs to be expected from such well traveled people outstanding is Mrs. Hill's , a twin peaked iceberg making a cleverly balanced composition with just a touch of humour.

A touch of sadness in both subject and colour scheme distinguishes Juliette O'Connor's . It catches a little boy trying to defend his sandcastles as they are being swept away by the waves of a rising tide in the fading evening light.

Carolyn Carr's stoneware pots are in pleasingly classic shapes and have fascinatingly modern surface finishes that look metallic and burnished.

Helle Pukk's and achieve an anthropoid humour in contrast to her other ceramics, which verge on the cutesy.

Perhaps the star turn of the show is the silver jewellery created by Rebecca Little. I know little about jewellery, but many of these pieces seemed to me to have the elegance of simplicity enhanced by a strong contrast with interwoven black ribbon. The smaller pieces, however, seemed a little fussy by contrast. Almost all of it was "not for sale", a situation that will sadly prevent many a woman from having the undoubted distinction of wearing it.

In the adjoining Edinburgh Gallery are ten of the abstract Iris prints by Matthew Clifford, some of which have just been seen in the main Onions Gallery. It is possible to find fascination in these highly complex works and the colour schemes and compositions are admirable. They seem to me, however, to be purely mechanical with neither heart nor soul.