Traditionally, the responsibility of a curator was that of caring for a collection of some kind. This included its conservation, as well as overseeing the development of the collection. Today, the task of a curator, especially in art museums, is much more than that. It includes the planning and installation of exhibitions. As such, a curator is a special kind of artist, in that the job calls for all kinds of creative skills, in order to bring the exhibition to a successful completion. Each exhibition has its own set of requirements, so the task of putting together an exhibition is never a “cut and dried” affair.Without going into all the multitude of details necessary for the creation of a successful exhibition, suffice it to say that it is time consuming and at the Bermuda National Gallery, most exhibitions take at least two years from initial concept to opening evening.The current exhibitions at the BNG are no exception, but, for even those who are regular attendees at National Gallery events, these exhibitions are bound to be surprising. Much effort has gone into creating exciting presentations, as well as providing new ways of perceiving even familiar works from the permanent collection. Add to that, the retrospective of Will Collieson’s art and you are in for a delightfully diverse experience.In the lead-up to the opening of the current exhibitions, I visited the BNG a number of times, and thus was privy to some of the behind-the-scene deliberations on the part of Curator, Sophie Cressell and the entire BNG team. Much effort has gone into making these exhibitions a memorable encounter. As an example, consider the exhibit in the Watlington Room. For those who are BNG regulars, the 16 paintings on show from the European collection, will be very familiar, but since they are arranged thematically, instead of chronologically, there is a good possibility of seeing them in refreshing, new ways. Furthermore, the BNG has had the walls the Watlington Room painted an unusual yellowish green colour. The mention of that colour might not seem all that suitable, nevertheless, in actuality, it works in two unexpected, albeit effective ways: it makes the room seem much warmer than previously. The original light grey walls of this gallery made this space seem cold and unappealing. Additionally, the new colour makes the space seem more intimate, even smaller.The Watlington Room exhibition is called Decoding the European Collection. In decoding the exhibit, the BNG has provided a booklet, with a very helpful essay by Bermudian art historian Dr Christina Storey. There will be several available, just to the left as you enter the gallery, and should you have the time to read the essay, you will gain much helpful, background information on each painting.In the Lower Mezzanine, there is a small show of paintings by French artist, Elisée Maclet (1881-1962). He was largely self-taught and specialised in scenes of Paris and occasional still-life, usually of flowers. As an autodidact, his paintings are often lacking in the precise observations of trained artists, nevertheless they have great charm and appeal. Additionally his paintings preserved a slice of Paris, especially the Montmartre of the early 20th century. As in the Watlington Room, the walls of the Lower Mezzanine have also been painted, in this instance, in terra cotta. The earthy red works well with the Maclet paintings. It should be noted that these Maclet paintings are from the John Young II and Nelga Young Collection, which was donated to the Bermuda National Gallery in 2005.The Ondaatje Wing is usually reserved for art that in some way is linked to Bermuda and this winter’s exhibition is no exception. As is usual, there are a variety of works, from both the decorative, as well as fine arts. One painting of note, is a new BNG acquisition, entitled Bermuda Man. It is a 2008 oil painting on canvas by Henry Ward. In this painting Ward revives the Renaissance use of chiaroscuro, or extremes in light and dark. The head of the Bermuda man is seen as if spot lit. The rest is in darkness. The chiaroscuro technique was, as were so many other Renaissance inventions, initiated by Leonardo da Vinci. It was during the latter 16th and 17th centuries, however, that this technique became most popular. Its most notable practitioners were the Italian Baroque artist, Michelangelo Merisi da Caravaggio (1571-1610), the French artist, Georges de la Tour (1593-1652) and the Dutch, Utrecht Caravaggisti, particularly Gerrit van Hornthorst (1592-1656) and a generation later, the best known of all the Dutch masters, Rembrandt van Rijn (1606-1669). The use of chiaroscuro in modern painting is not all that common, although not unknown. It is fairly common in photography, however, for example, the photographs of Bill Brandt. Many BNG attendees will remember the outstanding Bill Brandt show of a couple years ago. Henry Ward’s painting is a remarkable addition to the BNG collection. The Will Collieson retrospective is the centrepiece of the 2011 Winter exhibitions and for good reason. Over the 40-odd years that Mr Collieson has been contributing to the Bermuda art scene, he has developed an international reputation and received prestigious awards. He has also developed a considerable following amongst local collectors. I can think of no one more fitting than Will Collieson for a BNG retrospective, at this time.Although Will Collieson’s art is perceived as jovial and witty, underneath it is complex, with layers of dark, often sardonic meanings. I have read that his works are colourful, which is sometimes true. Mostly his creations are more earthy than anything. That also includes his choice of colours.In assessing Collieson’s work, I often see affinities to other well know artists, such as Louise Nevelson, Cy Twombly, Robert Rauschenberg, and Jasper Johns. Collieson points out, however, that in many cases, he does what he does, only to discover later, the similarities between his work and other artist. An exception is the influence of Jasper Johns, whose work he admires greatly. The impact of Johns on Will Collieson is immediately evident in his American Flag series.The flag series brings up a story. On one occasion Collieson, in his travels between his work in Hamilton and his home in St George’s, found, while going through Flatts Village, a quite rotten and weathered piece of plywood. It was already beginning to split and fracture, but he thought he could see lines that suggested strips, so, carrying his “treasure” back to the studio and then finding a smaller piece of weathered wood, he cut it into a rectangle and drilled at regular intervals, 50 round holes. This was then fitted into the upper left corner of the Flatts found plywood. When finished, it suggested an American flag, although it contained neither stars or stripes. When exhibited, however, it so incensed one visiting couple that they expressed their anger to the exhibition receptionist. When I was teaching, I often advised my students to pay attention if a particular work of art angered them, as something important might be going on. I have the same advice for the general public. This particular work is also in the exhibited along with other works from the American flag series.This American Flag story, indicates something of Collieson’s working methods. Upon finding something, he will then find something else that suggests a possible direction, which is then added to the original found object and so on. It’s not that he necessarily sets out to create something with a particular meaning. Its a whole complex process and in the end, it may actually indicate multiple meanings. Collieson’s process is a dialogical one that may and often includes input from his audience. He recognises that a work is really never finished, even when he stops working on it. It goes on accruing a history, new meanings and even physical changes, as the work ages. The work takes on a life of its own.Much of Collieson’s work falls in to the category of assemblage, installation and collage and nearly all his materials are found, often in throw-away situations. It is not that this artists is reluctant to spend money on art supplies, its more a matter of recycling history, so that it becomes part of the present without losing its past.Although Will Collieson comes from LIverpool, he moved to Bermuda over 40 years ago as a window dresser for HA&E Smith department store. His windows were so amazingly refreshing that I, and I am sure others, would go to Hamilton just to see them. In the process, we would often end up buying something, but it was their show windows that attracted us in the first place. In many instances, these windows acted as laboratories of creativity. From these he would then develop his artistic visions further.The BNG winter exhibitions actually continue into the summer, for the closing date is August 23.