Springtime at the Windjammer II Gallery is a refreshing collection, a resolute show with mediums as diverse as the artists: watercolour, oil, mosaic, mixed media, relief print and gouache.

Otto Trott exhibits a fine collection of oils. They are a painterly evocation of Bermuda, past and present. His distinctive brush marks create rich and intricate patterns — particularly vivid when painting water.

Waterloo House, is a depiction of the former Hamilton waterfront hotel, now replaced by a namesake behemoth of a building on Pitts Bay Road.

Molly Godet’s landscapes have a palpable and portentous atmosphere. Storm to Gale Force, St George’s has all the elements available in picture-making: size, shape, line, direction, design and colour.

She combines them seamlessly and with incisive intuition. Her other panoramic landscapes are inventive but lack the execution. For example, the treelike form of the rock in the foreground of Monolith, Gravelly Bay deliberately dominates but the house on the foreshore seems to wane idly from the composition leaving her thematic imperative diminished.

Stephen Card turns from the maritime genre to aviation for inspiration.

His standout oil painting, RAF Spitfire c1940, celebrates the iconic aircraft. He uses a dynamic composition where the dipping wingtip cuts slightly into the coastal ground to unite sky and landscape. The view of the aircraft at relatively low elevation adds to the sense of engagement. It is a fitting portrayal in this 50th anniversary year of the death Winston Churchill.

Christopher Grimes’ two maritime oil paintings are showing aspects of development and he is perhaps spurred on by the example of Stephen Card.

Diana Amos’ watercolours, Hazy Morning, St Catherine’s and Quiet Morning Somerset, are successful paintings because they possess an immediacy and directness of manner.

The latter is a calm and restful scene of cool greens over glassy waters. A little improvisation in the arrangement of the buoys would be a device to shift the eye from the right to left and create an S-like curve. It is a small detail that would have a profound effect on the reading of the painting as well with addition of some warmer hues.

Sheilagh Head eases us into spring with her five oil paintings. The inveterate colourist demonstrates her fine ability to paint expressively and capture subtle light. Her paintings teem with life. Harmony and rhythm are a constant presence.

The large canvas, Springtime in Somerset, shows a path enveloped by a swathe of vegetation punctuated either side with flower colours that reverberate in the houses beyond.

Vaughan Evans uses black and white graphic simplicity with his intricate lino relief prints.

Christina Hutchings’ mixed media works are perfect conversational pieces. The mosaics by Nikki Murray Mason are highly decorative and inventive. She uses jagged edges of broken ceramics in The Dancers, that become three-dimensional petals, poking sculpturally from the frame.

The show runs until April 9. The reviewer also has work represented in the show.