If, as I tend to do, you move around a gallery from left to right the first thing that hits your eye at the Bermuda Arts Centre at Dockyard's winter show is a four panel work by Bruce Stuart entitled 'Down de Road, Up de Hill'. And hit the eye it does. I first thought that it was a collage of cut paper shapes in primary colours glued to a dark ground. It is in fact an acrylic work with vaguely architectural, but geometric shapes connected by what presumably represents a white centre line, running down in the first two panels and up again in the second two. Mr. Stuart has left his rather tight, obsessive door series far behind. Where he is going is harder to assess.

Kok Wan Lee, on the other hand, is everywhere in every sense. Here he is working in watercolours. His abstracted human shape in 'Listening' breathes concentration and is a formidable work. So is 'Bodyguard', the very essence of toughness, any nightclub's ideal of a bouncer. A series of three works in a mildly similar vein 'Private Dances I, II, and III' lose what might have been their impact due to apparently pointless distortions of anatomy.

Graham Foster's 'Mask with Aura' might have served as a head design for a cinematic space person and has a similar intensity of impact to one of the famous 'Silent Scream' paintings. Mr. Foster's output lately seems to have diminished considerably to the disappointment of his admirers.

Dan Dempster, on the other hand, returns in force with what he has always done best, studies of water, sand and rocks done in charcoal and cont? chalk. Two of them are unusually large, but lose nothing for that, while the smaller third, done in pencil, 'Little Laugh-lines', is one of his best.

Suzie Lowe's unusual and idiosyncratic ceramic and mixed media works varied from the very successful 'Puzzle People' made up of ceramic jigsaw inspired shapes of an almost kissing couple to the fairly incomprehensible 'Kite Fishing', a combination of kites, fish, and a formidable hook. The third work, 'Forbidden Fruit', a cleverly conceived ceramic nude lying in an avocado pear, lost impact because of the aggressively breasted, but otherwise anatomically limp nude.

Two very pleasingly coloured architectural abstracts with interesting composition and small detail punctuation were the contribution of Angela Gentlemen. The colour schemes were a little unconventional but worked extremely well.

Diana Tetlow, long known for her pastels and more recently for her oils, has launched into digitally manipulated photography. 'Food for Thought' is a face and background made up entirely of juxtaposed sections of photos of fruits and vegetables and makes for intriguing study. 'Just Another Brick in the Wall', however, is hilarious. The photograph is of a reasonably irregular brick wall, long weathered and, I am assured, actually Italian. Digitally set into a few of the bricks are famous sculptures of Michaelangelo, colour coordinated with the bricks so that the deception is even more of a surprise.

The only other photographs in the show were two by Margie Harriot, both of them entitled 'Nature Mosaicing (sic) with Itself', the second of which was an intriguing, dark monochrome reflection of a finely leafed branch punctuated by a very small piece of bright green half immersed in the water. The eye of the photographer never ceases to amaze me.

Considerable space is taken up by no fewer than ten paintings of Jonah Jones' recent obsession with buoys. One work is large, the rest small. Since his delight in red buoys is now being copied by other artists it may just be that there are, perhaps, enough such paintings. His 'Rock Study', on the other hand, is exceptional for its treatment of light and water contrasted with the solidity of the rock.

A fascinating textured ceramic mosaic, 'In the Beginning', by Jonathan Northcott portrayed amoebic shapes containing a tree. It was interestingly juxtaposed with a floor cloth acrylic painted to resemble fairly traditional mosaic. It was certainly attractive but I wondered how practical it might be underfoot.