A successful work of art involves balancing a multitude of skills, concepts and emotions. The most successful are often said to be masterpieces. I sometimes think of art making as something similar to juggling. All these qualities are under consideration. One is no more important than the other. All are vital components and each requires our undivided, albeit momentary concentration. In the end, a successful work has, what I call 'soul'.

Kenneth Clark, former director of the National Gallery in London, wrote that "a masterpiece is above all, the work of an artist of genius who has been absorbed by the spirit of the time in a way that has made his individual experience universal". That is what I mean by 'soul'.

When you add to this mix, the demands of marketing and sales, you are treading on dangerous territory, however.

Of course, professional artists are in the business of art and sales are a vital aspect of the trade. But when it becomes uppermost in the artist's thinking, this will often impact the quality of art adversely. It can interfere with the internal balance required, but especially the aspect of the painter's emotions.

If what you are creating is not the most important thing you have ever created, what is the point of doing it? If what you are doing is solely for money, that is artistic prostitution.

I recognise that in Bermuda, the absence of art dealers who handle local contemporary art has created a situation where artists must become their own art dealer, as well as the maker-of-art. That is unfortunate. Maybe the downturn in the economy will, in the end, be a good thing. For if rents were to become reasonable, someone might possibly dare, once again, to take on the role of art dealer, thus allowing the artist the freedom to concentrate solely on the making of art.

The Jonah Jones and Chris Marson exhibition currently taking place at the Bermuda Society of Arts, is an example of just such a situation: the business of art is getting in the way of creating works of artistic integrity.

Both these artists are very capable painters, but in both cases I have seen work in previous exhibitions that are better, certainly richer and more interesting.

If I calculate correctly, this is the fourth, maybe fifth Jones/Marson exhibition in about two-and-a-half years. In this present instance, they have taken over the entire space at the Bermuda Society of Arts, and this is a very large space. Since they have been averaging an exhibition about every six to nine months, that is a powerful number of paintings to have had to create in a very short amount of time. Obviously they work quickly, which can be a positive quality in that works made under such situations often are lively and fresh, but in this present exhibition the work often comes across as merely slapdash and annoyingly busy.

I realise that rapid painting is a typical method in making watercolours, but in this present show, perhaps Chris Marson has painted so rapidly as to lose something, especially in the structure of his buildings. In one instance the roof almost appears to be flying off into the air. In the case of Jonah Jones' oil paintings, his colours often appear muddy, his drawing imprecise. In 'Boats and Palms' his boats seemed to be floating in air.

Having just reported the negative, however, I must add that not all is so dire. In the recent past I have said that typically this duo paints mostly, buoys, boats and beaches, but in this exhibition Chris Marson has expanded into street scenes in St. George's and also Somerset and in many, he has added people. This is a new and important addition. Even in some beach scenes, he has included people, as in 'And then I said..'.

I understand that when he was painting this picture, two men came and stood right in front of him, as if he was not present and carried on with their conversation, so he just added them into the picture. There is also a little gem by Jonah Jones, a depiction of the cemetery at Dockyard. This is a small painting, but truth to tell, I often think Jonah Jones is at his best in his small works. I understand that for the duration of this show, he is doing one small painting a day. I look forward to seeing them.

The exhibition continues through March 11, 2009.