Stella Shakerchi, whose works make up the current show at the Bermuda Society of Arts? Edinburgh Gallery at the City Hall, is primarily an abstractionist and a colourist. The first of her works according to the catalogue, if not by the hanging arrangement in the gallery, is a series of abstracts formed in vertical swirls.

In one of these, ?Onda Sismica?, the swirls are angled. The colour schemes in these compositions are generally pleasing, if not exactly smoothly coordinated nor yet startling. As with so many works in this vein they are decorative and pleasing, but any message is obscure.

The following group of five works, three called ?Little Floral? and two ?Floral?, are rather sombre in colour scheme and nervously precise in execution. The marked difference in style and concept from the first group, it turns out is a characteristic of the artist. Consistency of style isn?t for her.

At the end of the gallery are three large works that commanded the eye from the beginning. The central and largest of these is ?Magenta Lotus?, a splendid geometric abstract of interlocking circles subtly made to flow by tangential curving connectors. As the title suggests, magenta is the dominant colour, supported by greens and blues. From a distance the effect of the painting is gently to undulate, a highly successful interpretation of the geometry in colour.

On its left is ?Seafarer?, a particularly attractive abstract enhanced by subtle impasto and executed in the sea greens and blues suggested by the title. For me this was the star of the show, in part because I am particularly partial to its colour scheme, but also because of the quality of its execution.

In the same colour scheme is ?Guarigione Divina? an abstract bull?s eye rendered in the angled swirls favoured by the artist. It is in the same general colour scheme as ?Seafarer?, as is ?Blue Lotus?, another smaller geometric abstract of elaborately interlocking circles. I preferred this one to the magenta one because I found the tangential connectors in the latter a little disturbing at close quarters. These are omitted in ?Lotus?, which gains in coherence on that account.

The next inconsistency is a group of four works titled ?Wallpaper?. In fact they do not have the connective references necessary to be used as a wallpaper design. This could be thought of as a pity. As wallpaper the stylised flowers rendered in fabric textured gold on a peacock background would probably have made William Morris? spine tingle with delight.

There follow two more of the vertical swirl works in less pleasing colour schemes and then two more of the intriguing geometric abstracts, one in hot pinks and orange, the other in green and lavender. While the geometry is regular the colouring is not, a trick that allows the artist to tease the viewer into reassessing the reality of pure geometry by unbalancing the expected visual consistency.

After the excitement and fascination of the constantly unexpected in the main part of the show it must be said that the six works at the entrance to the gallery can only be considered a disappointment. They are almost childlike in treatment and, in strong contrast to the other works, less than well painted. The perspective is stilted, perhaps deliberately but nevertheless awkwardly and unevenly, and so leaves the viewer uncomfortable and alienated. In the main gallery are three other works from a similar childlike viewpoint, but with an added dose of pure fantasy that gives them a life and verve lacking in the six in this gallery.

Don?t let this little disappointment turn you away. Ms Shakerchi?s fascinating series of abstracts are well worth a visit all on their own.