Stella Shakerchi's paintings display a strong sensitivity to pattern. In considering her way of painting, I thought to call it "Pattern Painting", but on further reflection, it seemed that this term might be misunderstood by possibly linking her work to the "Pattern and Decoration" movement of the 1970s.

The best known artists from that camp are Miriam Schapiro and Joyce Kozloff, but their way of using pattern is quite different and I doubt that there is any link between them and what Ms Shakerchi does.

Although Ms Shakerchi's way of working is thoroughly modern, no artist is free from the impact of the past and in her case, there is a greater likelihood of her being influenced by Middle Eastern, Islamic patterning, but also by the paintings of Bridget Riley, as well as modern abstraction in general.

At least that seems the most plausible possibility. Artists often quite unconsciously assimilate influences and rework them in such ways that they become their own artistic voice.

The links between what one sees and the influences of other artists or art as well as the general ambience, become hidden in synthesised artistic creation.

Ms Shakerchi tells me that her family roots lie, in part, in the Middle East and also in England, resulting in a wonderful mix of cultures.

The working of a creative mind is a great mystery, a miracle if you will, and those of us who are bystanders can only guess at what is going on. The manifestation of the process is mostly sensible to outsiders, mostly in the works that result from these processes. That much is there for us to enjoy.

This exhibition consists of an amazing amount of work, considering the small space it is exhibited in. The Edinburgh Gallery is small, but there are 46 pieces in the show. The works vary in size, a few being fairly large, while most are of modest dimensions.

However, while visiting the exhibition, it never occurred to me that it was in any way crowded. I just got caught up in seeing the paintings.

The work is stylistically varied. Nevertheless, all but one of the pieces are abstract. The one exception is figurative. The abstract pieces are also stylistically varied. I see at least two different trends.

While all make use of pattern, one approach is flat appearing. Ms Shakerchi refers to these as "wallpaper". This designation is given in fun, but it also perceptively recognises the inherent flatness of these works.

The second abstract style is related to optical art and especially the work of Bridget Riley. With these works, there is a greater sense of spaciousness and movement. She mostly uses either oil paint or mixed media, including collage.

In reviewing exhibitions, I always refrain from writing about art prices. My reason for avoiding this contentious area is because, in my opinion, art prices are outside the real reason for writing art criticism.

Here, however, I make an exception, for Ms Shakerchi's prices are unusually modest. I confess, I was tempted to buy one. I also mention art pricing because it provide opportunity to express an opinion. Art prices here are often highly inflated. Many would sell more regularly if they kept there prices affordable.

Overall, I think it possible that artists would actually make more money by keeping prices reasonable.

Stella Shakerchi's exhibition is in the Edinburgh Gallery of the Bermuda Society of Arts. It continues through Novermber 1, 2006.