The watercolour show at Windjammer 3 Gallery is a predominantly figurative take on the island’s landscape and architectural detail.

A good watercolour is greater than the sum of its parts.

Christopher Marson exemplifies the principle in several paintings. Winter Storm is successful not only because of its fine technique but also its design vitality.

The tension between the heavy, dominating sky, balanced by the opposing element of two sunlit and slender chimneys on the left foreground, creates a superb design unity.

I think the artist’s use of opaque mediums — certainly over the last couple of years — has informed his watercolour paintings.

There is a greater dialogue between the transparent and opaque qualities of the washes he uses. It seems that transparency no longer has primacy in his work.

Diana Amos’s six pieces focus on the island’s architectural heritage. She produces some fine paintings.

Katie’s Chimneys is well organised with elegant brushwork, particularly in the foreground palm. Mid-Ocean Dawn is beautifully handled in a complex use of watercolour technique.

She eloquently captures shafts of light emanating from dense cloud illuminating rolling surf and a glassy pool of water on the beach.

Sometimes, a little variation of line through an exploration of lost and found edges — evident in her recent oils — would go a long way.

Marlene Jantzen is finding her style in three varied pieces.

She is most effective when dealing with extreme light contrasts. The bright light, heavy shadow and rich warmth of Early Morning South Road describe the road as it reaches a sharp bend where the water is at is brightest with reflection to dramatic effect.

Jill Raine’s three paintings include the intriguingly tilted Oh Dear!

The title shouldn’t have a negative implication for the piece’s success though; indeed the picture is her best.

It has wonderful lateral movement in the cumulus clouds and trees that assuage the perpendicular strength of the chimney.

Molly Godet has a special vision in her paintings and the relationship between buildings and the landscape. Screwed Up Screw Pine shows the tree’s twisting form as it absorbs the solidity of the cottage beyond.

The clever positive and negative shapes of the heavy protruding quoins lock the building to the landscape beyond.

Michele Smith uses the white border of the paper for her design Fitted Dinghy Race.

Similarly Tai-Quan Ottley leaves a round white border for trompe-l’oeil effects in three well-drawn monochrome miniatures.

He paints a cast shadow of the circle containing island motifs making the pictures appear in relief, like plaques. Moongate is effective, given its circular composition within a square frame.

Emma Ingham adds a contemporary flavour to the show. The Fall of Icarus uses symbolic representations of colour for land, sea and sky with jagged lines falling to their earthly conclusion.

The artists contribute well to a show that is definitely more than the sum of its parts. It runs until June 16.

• Nick Silk also exhibits work in the show.