Woodbourne Avenue, Pembroke -- until December 16.

Eldon Trimingham has re-created the painstaking techniques of yesterday to create a body of highly-prized marine work.

And he has taken the process a step further with studies of Rembrandt's famous self-portrait and John Singer Sargent's Portrait of Paul Helleu Sketching with his Wife.

A total of 12 works showing Trimingham's effortless transition from one artistic style to another is on show this week in the unusual setting of the lobby of The ACE Building.

And the simply-styled open space is almost ideal for showing art work -- and two pools, a fountain and a sea-based mural only add to the area's suitability for showing paintings of ships.

Some of the lighting however -- ceiling spotlights aimed at the walls -- is not ideal, creating a distracting reflection off the surface of oil paintings.

The Fishing Trawler captures the dull grey menace of a North Sea swell off Britain perfectly. Trimingham has a deft touch with light and the play between light and overcast is beautifully handled.

And the rendition of light is again a major factor in the success of The R.E.

Lee, a painting of US Civil War blockade runner pacing itself with a rainstorm to cloak itself from two Federal ships lying outside Charleston.

The R.E. Lee lies just under a dark and lowering sky -- in sharp contrast to the brighter light of the rest of the painting.

Trimingham's collection of just 14 works, although most sharing a common theme of the sea, are radically different in style, for Trimingham is as much a craftsman as an artist, taking the time to research the methods of the era depicted and recreating them as closely as possible.

That, however, does give Trimingham's exhibition a little bit of a schizoid feel and one wonders what he could produce given his head -- rather than someone else's.

But what some people don't realise, of course, is that the great artists of yesteryear, the Rembrandts, the Michelangelos, were dependent on commissions and ran mini-factories to keep up with demand.

Indeed, the latest scanning techniques have been known to show the work of more than one pair of hands in several works by the Old Masters, with apprentices filling in the easier bits of some of the world's major works of art.

And it's perhaps appropriate for Trimingham's work to be shown in a corporate setting, for business has replaced to some extent the European nobility and Catholic Church as patrons of art on the grand scale.

Trimingham's Dutch River Scene -- a subject and style common in 16th and 17th century Holland -- uses layer upon layer of paint to create a tree of marvellous depth and has a stunning luminosity to the sky.

The never-quite pitch black of night at sea is also perfectly captured in Atlantic Crossing, a recreation of a memorable night watch on a yacht.

A meteor shower tears across the shining blue-black of the night at sea, dappling the rolling ocean with light.

A change of style is needed for the Study of Rembrandt's Self-portrait, a discipline Trimingham uses to teach himself the sometimes lost techniques of the past.

His study of American Europhile John Singer Sargent's Portrait of Paul Helleu Sketching with his Wife captures the original artist's Impressionist style -- particularly impressive as it's the first attempt by Trimingham at such a modern style.

But academic exercises aside, the stars of Trimingham's shows are his beautifully-detailed ships and it's hardly surprising the new nobility like Ted Turner of CNN and others are flocking to Bermuda for faithful portraits of their vessels.

RAYMOND HAINEY ART REVIEW REV