The Techart exhibition, currently being held in the Onions Gallery at the Bermuda Society of Arts is surely one of the more difficult exhibitions to digest.

To begin, it is one of the largest shows put on by the BSoA in recent years and that can produce visual overload. But even more than that, with a few exceptions, there is a certain sameness to the exhibition. Many of the works displayed are of similar size. Additionally, what with the advances in technology, it is fairly easy to attain a reasonable standard of proficiency; with Photoshop, it is also easy to create certain effects.

That can lead to the possibility of creating an exhibition, largely dependent on effects and there is much of that in this exhibition. It has been helpful though, that the organisers of this show, have broken it down into a few categories; digital photography, digital art, digital/animated video and student digital photography.

One of the most outstanding and provocative presentations is the video entitled ‘Crab Animation’ by Sami Lill.

The title is, I think, maybe a little too innocuous, given the seriousness of the subject, but possibly that is part of the artist’s plan; to capture your attention by stealth. The short video is about over-development, to the point that we are destroying the very reason why visitors would want to came here.

Of course, Southlands immediately comes to mind and, in this context, this work is powerfully political. While thought provoking, this video is also highly entertaining.

An outstanding photograph in this show, is ‘Drowning Numbers’ by Jill Amos-Raine. This photograph appears as an abstract design; in fact, it depicts a portion of the blue hull of a ship with white numbers sloping diagonally down the hull toward the waterline. This is then reflected in a narrow strip of sea that continues the downward slope but as a mirror image of that which is above. At the bottom of the picture is a white strip of dock with a jutting red bollard. It is a notably simple but effective composition.

Another simple but engaging photograph is Alexander Masters’ ‘For Beginners’. It shows an open book and balanced between the pages is a photographic filter. A light from behind, projects what you would expect to be a coloured ellipse, but instead, like magic, because of the form of the open book, this projection appears as heart shaped.

Other photographic notables are Amanda Temple’s ‘Oil Silk’, Phil Cracknell’s ‘Reflected Light’, Sarah Wheelhouse’s ‘Southlands’ and ‘Natural Manipulation’ by Kelvin Hastings-Smith.

In the digital art area, I was drawn to Victoria Evans Cracknell’s ‘Gombey’.

Not only is it one of the larger works in the show, it gives a convincing sense of swirling.

Near-by is Libby Cook-Toppan’s ‘Flower Kaleidoscope’. This is a decorative display of flowers on a dark background. Although designed as a symmetrical composition, from one perspective, the overall shape of the the accumulated flowers is what engages the eye.

With a closer viewing, however, individual flowers also capture attention.

There are several other works that caught my eye. These include ‘Botanical I’ and ‘Botanical II’ by Kiona Estravit, Peter Matchem’s ‘Longtail Dawn’ and ‘Slipping Through Clouds’.

Simon Hodgson’s ‘Strata’ is unusual in this exhibition in that he has used technology to create a lamp made up of thin layers of plywood, to create an twisting form. It is an example of the application of technology to product design.

The last category is that of student digital photography. There are several students, whose works achieved a place of honour within this category. The real difficulty for me in this gallery, though was that there was so much work, so closely packed together that it was difficult to see an individual work alone. Altogether, these students are to be commended and especially the digital programme at Mount Saint Agnes Academy. Most of the students are from that school.

When you go to see this exhibition, allow yourself enough time. It will be needed, but well rewarded.

The show continues through May 16.