The current show at the Bermuda Art Centre at Dockyard is supposedly about the tactile. Indeed, it is entitled “Tactile.” This suggests art that stimulates the sense of touch. The implication is of something textured or at least something conveying the illusion of tangibility.

I suppose that most visual arts, although primarily about sight, do convey something of the tactile and thus in a show, such as this present exhibition, almost anything is permissible as far as tactility is concerned. Most of us when considering the tactile, think of something textured or rough, but this is not entirely the case. Something smooth or silky is also within this definition.

Although this is a fairly good show, the title does seem somewhat beside the point and the show is not in any way unusual for the Art Centre. It does not seem any more tactile than most exhibitions that I have seen there or at the BSoA or anywhere else for that matter.

As in most exhibitions, several works tend to stand out as exceptional. Others were disappointing. Upon entering this show, I recommend moving to the left and just in front of the main desk, to the right, is the work of Mary Tatem. Is it jewellery, small paintings or what? I don’t suppose that having this category absolutely correct is all that important, especially when it comes to something this unusual and this beautiful. I was especially struck by her use of fused glass, which is, indeed, jewell-like, no matter what its purpose.

Carla Marquardt’s two raku fish are finally crafted and they are also convincingly formed, according to their respective subjects; “Yellowfin Tuna” and “French Angelfish.” Raku is a Japanese method of making pottery, in which, the clay vessel or object is removed from the kiln while still red hot and then often buried in a container of saw-dust or sometimes old, dry leaves.

I have even seen vessels buried in snow, but that is particularly stressful for the pot. If it survives all this, the glazed surface is often very beautiful. Tea bowls made for the tea ceremony are frequently produced by this method.

I found Sonia von Walter’s two wire constructs particularly engaging. They are by far and away, the best of this artists entries in this exhibition. “Wave of Light” is made of wire and the tiniest of lights. As to how this work was actually made, is beyond my present understanding, nevertheless, the work is absolute magic.

Kathy Harriot has contributed fifteen pieces for the show. As such, her work is certainly the backbone of the exhibition. It constitutes almost a quarter of the entire show. Although her work is somewhat varied, it is all based upon her use of monoprints. If some of her monoprints are not exactly to her liking, she will slice them up and then use them to make baskets.

If the mono-print is successful, she will exhibit it as a print. In this show she is exhibiting six vessels, as she has named them. These are the basket-like containers. She is also exhibiting nine prints.

The monoprint is a one of a kind print. It has all the qualities of a relief print, however. The picture or design is painted onto a flat surface such as a piece of perspex or glass, which is either printed by running it through a press or it may be printed by rubbing the back of the paper with a instrument, such as a wooden spoon, or even ones hand.

Ms. Harriot, in making her prints, uses acrylic paint instead of ink. She pours it onto the flat surface, which in her case, is a sheet of glass. She often allows the paint to run in rivulets down the surface of the glass, before printing it. When pulling the print, there is frequently that characteristic effect that comes about by pulling one painted surface free from another. This is known as decalcomania.

I was especially struck by Angela Gentleman’s work called “Point of View.” it consists of nine small squares, all having collage and metallic-like surfaces. Additionally, these squares were shown as a set of three by three squares, which together, constitutes one work. All the squares are equal in size and each is about two inches thick. Although probably not intended, all the same, most noticeable are the shadows cast by these squares. This work was hung on a white panel, but the dark shadows helped set each square apart.

Fascinating is “Catching the Light” by Charlie Thomas Godet. This is an assemblage of old wood, nails, nylon fishing line, feathers and a sinker. Although the line with sinker dangles below the main body of the work, it does help effect a balance with its counterpart above.

Vaughan Evans’ woodcut in black and white, as always, is skillfully cut and controlled. In this instance, it is of a woman’s head. It is simply called “Lauren.”

Several artists, such as Vaughan Evans’ or Angela gentleman are only showing one work. Of particular note is Al Dounouk’s one piece called “Memory Bowl.” This is a silver bowl with a number of small, postcard like photo’s within. All are highly tactile in appearance. Most show old, textured wall as in old ruins, hence the title. If only those walls could talk. I for one, would like to see more than just one work by this highly talented artist.

There are sixty-six works in this exhibition. As with such large and varied shows, it is always difficult to cover it completely. There is a lot more that could be said should space allow. I will finish this review by mentioning a wonderful ceramic dish by Hella Puck. It is “Flowy Platter: Blue Texture.” It is wonderfully well crafted with a corresponding beauty. Look for it when you visit this show.

The exhibition continues through May 26, 2007