As you walk into the Bermuda Art Centre gallery you are confronted with the double image of a human skin suspended from chains and a large paper scroll holding the image of a floating young woman. The skin is a knitted wool garment complete with breasts, or breast pockets.

The scroll is a collage of torn, pasted, and painted paper. The juxtaposition of technique and raw visual impact is one of many sensations inherent in the theme show "Fibre Art'' at Dockyard.

The artist, Fiona Rodriguez, takes a personal experience and reveals it through a craft traditionally seen as a functional and decorative, creating a symbol of inner revelation.

A trio of wall hangings, scarves, and pillows by the artist Michele Banks contain titles such as "Tahitian Fantasy'' and "Venus Envy.'' The titles counteract the visual hedonism of the art replicas that are copied on these garments. The wall hangings are quilted together, dissecting the nudes of Gauguin, Titian and Raphael. They analyse the various aspects that make these figures icons of beauty and sensuousness.

Simultaneously the artist has matched silk, velvet, linen, and embroidered tassels that compliment in pattern and print the boudoir affect of the exotic Tahitian locale.

These symbols of luxury replicate the sensations that are suggested by these old masters. Through texture, colour, and pattern the techniques rival the painted illusion.

Lynn Morrell's "Too Many Snails in My Garden'' is a great send-up of the hippie culture. The burlap screen and its geometric patterns send out sensations of groovy bell bottoms, psychodelica and incense.

The quilted "Change of Season'' has a double meaning in its visual and literal sense. Morrell uses traditional stitches and batting, then bleaches, tie dyes, and draws into sections of fabric to further incite you to investigate beyond the patterning.

If this isn't enough, the artist then has petals projecting out of the frame of the quilt into 3-D space; they fall and flop in the implied breeze.

The picture isn't a picture, and the quilt isn't a quilt. It has become a low relief sculpture.

June Christie's electric "Catscape,'' is a humorous work that explores multiple stitches and utilises metallic threads. Its vibrant colour that makes this quilt an all out winner.

Texture and the illusion of pictorial depth are explored in other quilts. The acceptance of pattern over illusion and vice versa becomes an enjoyable pastime.

"Elephant Madness'' and "Pink and Purple Rag'' are beautifully coloured and enjoyable as articles of clothing. Their fabrics visually entrance, taking you to exotic landscapes rich with the symbolism of migrating people and natural textures.

Similar expressions can be enjoyed in quilts by Lynn Furtado, Linda and Geralyn Counsell, Jessica Kriendler-Pedro, and Cathe Bedard. The quilts look beyond simple design to become creative interpretations of the self, world, and landscape.

Symbols of feminist empowerment, prominent in the 1970s and '80s, are co-opted in the exhibition as well. Heidi Smith's mixed media and paper mache plates were influenced by the feminism of Judy Chicago's "Dinner Party.'' Gail Palacio's "Dancing Costume Shields'' are ceremonial garments resembling kitchen aprons or breast plates worn since biblical times. Symbols such as the ankh, the Egyptian symbol of life, allude to celestial power.

Cryptic, mysterious pieces by David Mitchell and Kendra Ezekial touch on another element of symbolism.

"Talking With Angels,'' by David Mitchell, reaches into the spiritual from a Native American source; it is distinguished by simplicity of design.

Other entries help celebrate the theme -- bridging the gap from craft to art.

Hangings in crewel embroidery, silk pillows, and a chair demonstrating the caning process show the tradition from which the more eclectic pieces spring forth.

The show becomes one giant patchwork drawn together by the common thread that they are all practitioners of the craft.

"Patchwork'' by Kali Stitleman, is a replica of the patchwork quilt made of painted paper carefully stitched together. As the graphic by Emma Mitchell attests, it is a show high in fibre, and in very good taste.

HJats are off to the staff and the artists who put together a solid show. For information call 234-2809.

Roland Russel QUILT ESSENTIAL -- Lynn Furtado's "When Clay Sings'' is one of the works on display at the Bermuda Art Centre, Dockyard.