Hall, Hamilton.

*** A few weeks ago I commented on the high quality of the last exhibition held by the society, the Spring members' show.

This exhibition, which once again doesn't restrict the contributors to any specific theme, perhaps once again illustrates the society's recently adopted policy to opt for quality rather than quantity.

Scale is relative and while the 31 exhibits in this show might not be gargantuan compared to something like Monet's water lily studies, this show does illustrate that Bermuda can deliver the goods on a massive scale in another sense.

For, as with the last show, what is impressive about Big is the sheer diversity of Island artists' influences, styles and interests that is illustrated.

There's a big mix of abstract, decorative, surreal and political, while landscapes, the bread and butter of so many local artists, take a back seat.

Surprisingly there's not much variety in terms of medium, with most artists -- Bruce Stuart and Kendra Ezekiel apart -- opting for two dimensional representations.

Graham Foster's contribution, "Where are You Headed'' is typical of the artist's obsession with unsettling imagery, although this time he has taken it to extremes in a nightmarish vision reminiscent of early Renaissance depictions of hell. It's a painting that the viewer can study for hours if you have the stomach for it. I'm pleased to say I managed to keep my breakfast down.

By contrast "Blue Hole'' by Charles Zuill has a calming, almost hypnotic affect.

Native New Yorker Don Trousdell has developed his own unique style to convey his imaginative fantasies and his three canvasses here have a lustrous, jewel-like quality that is completely captivating.

A far more naturalistic approach is seen in two canvasses by Diana Amos which demonstrate her skill as a traditional landscape painter while Bermuda's doyen of landscape painting, Sheilagh Head, shows her versatility with a couple of abstracts.

Without giving too much away there's plenty of both delightful and thought provoking stuff on display here and it's a tremendous accolade that a community so small can come up with a show so rich.

One minor bone of contention -- Molly Critchley's "Tree Spirits'' doesn't quite come up to the standards set by most exhibitors here. Now I know the Society is a bit strapped for cash at the moment but I do hope the $40,000 Ms Critchley is asking for her work in the show's programme is a typing error.

Nevertheless the Society has a busy summer schedule ahead, with five shows in as many months and if the quality of this exhibition is maintained it should be in for a successful year.

Gareth Finighan