The Bermuda Art Centre’s Members’ Exhibition, March 2007

The Bermuda Art Centre’s current members’ exhibition is a good show. By that I mean, it is generally well put together and the work well framed and presented, but with just a few exceptions it is not an overly exciting show.

To be fair, given the quality we have come to generally expect from members’ exhibitions, be it the Bermuda Art Centre or the Bermuda Society of Arts, this one is better than average. Since this is an open exhibition, the quality varies considerably, but on the plus side, such shows allow beginners the opportunity to begin exhibiting, thereby encouraging those who are just starting out.

Upon entering the show, I was immediately pulled to the left wall where Molly Godet is showing her incredible drawings. They are bold, strong figurative works, that are noted for a high quality of line. By that I mean, her use of line is fresh and spontaneous, while at the same time varied, through changes in hand pressure. That is a big part of the interest these drawings generate. The subject is also something to consider. We are always fascinated by the human figure, especially when drawn with skill and authority and this is exactly what Ms Godet does.

Jon Faulkner’s new ceramic creations give great visual pleasure. Not only are they exceptionally well crafted, the forms he creates are refreshing. One person described them as appearing drunk. Admittedly, they do appear a little tipsy, but their appearance is by no means dishevelled.

Lets just admit that they are comical. His work is so engaging, that you cannot just pass it by.

Lynn Morrell’s quilted wall-hangings are always well thought out and well crafted. The two she is presently showing, however, are on the quieter side and require a close viewing. The reward is in the details. One is called ‘Downpour’.

I wondered about the title as it seems less than what I conceive a downpour to be, but as she explained it, she was actually trying to give the impression of copious amounts of water flowing down a piece of glass. In that she has been successful. The other wall hanging called ‘Puddle’, is indeed puddle-like, including a couple of floating leaves.

Four artists, M. Harries, Carolyn Boatman, EK Rodrigo and Maggie Cormack have collaborated to make a series of small paintings on the theme of ‘Haiku’.

This is a Japanese form of poetry that consists of three unrhymed lines, often invoking some aspect of nature. Each artist has created a poem and then produced a small painting to accompany it. Such collaborations need to be encouraged, for these small, quiet and gentle, poetic works are a joy to see.

Joyce Beal has once again contributed several batiks, all depicting some aspect of nature. In her recent creations, she has expanded her use of colour and this is commendable. Much of what she does, however, tends to stay somewhere around the middle tonal range; she needs to offset this with darker contrasts to enrich the colours she is already using.

Three of Karl Sternat’s five paintings, namely ‘Autumn’, ‘Wild Berry’ and ‘Heat Rising’ are murky. By contrast, ‘Triangles’ is much more successful, not only in the application of colour, but also in the sense of layering and overlapping of triangles.

Kok Wan Lee’s approach to art making is always experimental. In this exhibition, his ‘Stalker’ series is probably his most successful. Interestingly, his use of paint, on casual observation, appears as pastel, while in fact, they are acrylic paintings.

The three paintings are appropriately exhibited together. ‘Harbour View’ is a colourful rendition of plants on a balcony overlooking the sea. Whether intentional or not, there is a certain flatness in the work, which is reminiscent of a number of paintings by Matisse. The artist is Rosemary Davis.

Amusing is the rendering of a rooster by David Harries. I especially noted the very red coxcomb and the beady eye of the bird. The artist certainly caught the general personality of a rooster.

The exhibition continues through April 13, 2007.