When I first encountered the art of Kevin Morris five or more years ago, I remember them as being considerably larger than most of the paintings in his present exhibition in the Edinburgh Gallery at the Bermuda Society of Arts; nevertheless, what he has created for this exhibition is no less demanding than his earlier, larger works.

Indeed, since his works tend to over-all compositions, the tendency is to "read" his work, methodically, much like the way we read a page of a book. I found my eyes moving across the surface of his paintings, line by line, usually top to bottom and left to right. This is because Morris has, typically organised his paintings in a linear fashion. This requires a commitment of time. Each painting needs our undivided attention, an obligation to see it through, not only visually, but thoughtfully as well.

In his artist statement, Mr. Morris says that his work has evolved significantly, and this is evidently true; nevertheless, his artistic development has progressed in a consistent manner. The way he paints now is naturally rooted in his earlier work. He also claims that his present paintings are to many, surprisingly colourful, but this is relative. His work was always reasonably colourful.

The subject matter or themes in Morris' paintings are difficult to pin down. He claims to make use of a multiplicity of cultures.

I think I see in his paintings elements from, not only Greece, where he currently resides, but also India, possibly Australian aboriginal art, Celtic illuminated manuscripts, Byzantine icons, Islamic arabesques, Haida Indian totem poles and such modern painters as Paul Klee, Mark Tobey and Jackson Pollock. Morris also looks to the art of Jean-Michel Basquiat for inspiration. And yet, it is possible that some influences are unconsciously selected. We are constantly bombarded with impressions and information and frequently grasp concepts on the fly to use for ourselves without heed to origins and sources.

While Morris admits the influence of classical Greece, as well as Byzantine icons, his compositions are hardly classical. By that, I mean, his work does not display the restraint and idealism we associate with the art of ancient Greece and Rome. On the contrary, Kevin Morris' paintings are notable for all kinds of visual information, including words that are packed-in, pile-up and jammed together in a less than logical manner. Although the words are legible, as a group, there is no logical sequence. More than anything, the words seem randomly arranged. His work, more than anything else, is an expression of modern life. He recreates the visual and audial cacophony that is characteristic of present-day urban situations. In this respect, he is recreating present-day Athens, with it's pollution, sprawl, noise and traffic.

Many of Kevin Morris's paintings are of an overall composition, by which I mean, there is no centre of attention, every aspect of a given work requires equal attention. This is the influence of Jackson Pollock. In other works, Morris superimposes, a dominant element, however, that demands our consideration. An example of such a painting is his 'Green Dog'. In this painting Morris places a generic beast in the centre, over what appears to be an underlying "over-all," composition.

He identifies the animal as a dog, but it could be any number of different beasts. I thought it possibly the Trojan Horse.

It also resembles a lion that appears in the Gospel Book of Durrow, a seventh century, hand illuminated manuscript from northern England.

Regarding beasts: Morris places various animals throughout his compositions; especially birds, but also octopuses and other creatures. For some reason, the octopuses frequently have their tentacles full of a complex of arabesques.

What is the reason for this? In a Morris painting, logic and reason seems to take a "back seat," so there may not be an easily identifiable reason.

His approach to painting is more intuitive than anything else, so the image of an octopus may or may not be of a particular symbol in the artist's mind.

Indeed, in this exhibition, the general public needs to bring their own interpretation to a work.

Their own experience is important in order for the viewer to arrive at an understanding of the work.

A close inspection of some of the Morris' paintings will reveal, what appears to be elements of collage. This is because he cuts up older, possibly less successful works and recycles them in new work. This is a continuation of his earlier, collage creations.

This is a must-see exhibition of the work of a Bermudian making his mark in the wider world and in this we can be proud.

The exhibition continues through November 22, 2007