walls of the Bermuda Society of Art's gallery in City Hall, can also lay claim to being the longest-surviving group of its kind on the Island.

While never assuming a formal role or focus, `Growing', originally formed in 1982, consists of a group of artists working in various media who get together for a biennial show. With core members such as Elmer Midgett, Kris Jensen and Sheilagh Head remaining constant over the years, they have retained a sense of artistic growth and renewal by inviting different artists to join their ranks for each exhibition. This year, the group also includes Judith Faram, Judith Vance Gardner, Betsi Griffith and Marion Watlington Vorley.

This concept of joining artistic forces is hardly a new one, being an outgrowth of the `schools' of the past which, at least from medieval times on, dominated the art world. With the dawn of the 19th century, however, artists -- who tend to pursue an isolated working life -- felt the perhaps modern urge to fraternise with fellow souls, to talk about their work.

This year's `Growing' show, which opened on Friday evening, attracted perhaps more people than ever before. And, as is usually the case with this group, there is, besides a wide diversity of talent, a sense of commitment by participants to the concept of continued experimentation.

Landscapist Sheilagh Head, for example, has chosen to exhibit only abstracts in this show. "This is how I used to paint in the 60's. I did it for me, really,'' she explains. "Although I paint the spirit, rather than strictly representational views, I felt an urge to get away from a tightening effect that can happen from time to time. Abstracts, of course, still paint the spirit of a place or an emotion, but the effect is achieved by using different media.'' Several of her works are collages of paper and fabric then painted, usually with acrylic paint. "As artists, we are all students,'' she insists.

"The day when an artist stops being a student is the day you may as well pack up.'' Besides a pair of oils entitled `Chimeric Light I and II', which demonstrate decisively the underpinning of technique necessary for genuinely free expression, she has also produced a collage, `Standing Stone for a Gilded Butterfly', her own comment or, as she terms it, "a kind of requiem'' on the death of Princess Diana.

Elmer Midgett, who has also painted two abstracts, is at the top of his considerable form in this show. Well known for painting the `intimate trivia' of life, whatever he happens on around the house or the yard, and which he refers to as "objects cast-off!'', he has produced a magnificent series of interior studies in oils and two in graphite, all of which study the often dramatic effect of light on familiar objects.

Judith Vance Palmer, in a series of six "quite large'' palm leaves studies, says she has spent the last couple of years engrossed in botanical studies.

"Scientific, but allowing the viewer to see them in a different aspect.'' Working in a combination of oils and gouache which, she feels, allows a greater build-up of textures, she reveals her degree was in textile design.

"I think that background comes through in this show, my first time with `Growing'. We've had a great time preparing for this, having dinner together, sitting around, sharing criticism of each other's work. An artist needs to do that.'' Kris Jensen has perhaps `grown' the most in the past two years with an impressive series of what she calls "mini landscapes, as if seen through a tele-photo lens. I've been painting in oils with my buddy Elmer and feel I have been far more adventurous, reaching out to paint things I've never tried before.'' Marion Watlington also makes her debut with the group, with a series of watercolour landscapes and some "nature'' pictures, inspired by a recent trip to Africa. "I started painted three years ago, but I've been dreaming of painting for about 15 years,'' she reveals."As a doctor, I could never find the time but, now, I have found that balance in my life that allows me to express that part of my being. It's relaxing, meditative and, for me, art is very healing. I didn't think I was good enough to join this group but they've all been very kind! This has been a tremendous leap forward for me.'' Judith Faram, famous for her exquisite jewellery, has moved in a completely new direction, producing a series of bronze sculptures. The unifying theme and one which obviously fascinates her, is that of the dance, with several of her pieces exploring form and, partly through the use of often billowing skirts, extremes of movement, as in her tango couple, `It Takes Two'.

Holding the fort on the jewellery front on this occasion, is Betsi Griffith who began making handmade jewellery a year ago. With a background in fashion and advertising, this is a completely new venture, but one which she has found absorbing, "working in different media, often creating sets of earrings and brooches in which colour contrasts are very important.'' `Growing 9' continues at City Hall through November 21.