The collection of work on view at this year?s Biennial at the National Gallery is a vibrant display of colour, exposition and eclectic design.

It would be naive to describe this show as ?contemporary art? - a loose term as open ended as it suggests, but it can be certainly be regarded as an evocative rendering of contemporary art in Bermuda.

The Biennial, featuring 83 diverse works from 50 artists, is a reflection of the visual arts in Bermuda and is aimed at a broad public, not for aficionados or insiders in the art world.

The local art scene does not tend to follow global trends in contemporary art and is not beholden to fashion.

Within the local context, comparisons with international contemporary art shows such as the Whitney Biennial or the Venice Biennial are simply redundant.

Anything but banal, the provocative piece, ?Man Builds Cage, Man Locks Himself Inside, Man Throws Away The Key?the video installation from Glen Wilks is visually arresting.

Themes of space consciousness, confinement and boundaries individuals place on themselves or on others are emblematic of society?s conflicting desire not to open Pandora?s Box and set loose the chains of conformity.

Mr. Wilks delivers a powerful statement and it is apt that as a conceptual artist he feels there are no barriers to self expression.

In a similar vein Will Collieson?s ?The Human Touch?will provoke much head scratching by uninitiated visitors but he can usually be relied upon to eschew easy pleasures.

This mixed media assemblage features small bone fragments encased in a number of compartments with a single detached Denim clad arm holding a satchel placed outside the frame.

In juxtaposing the imagery of human flesh and inanimate objects, this off the wall ensemble seems to deconstruct how humanity relates to man made objects.?Disney Number Two? by Ian Macdonald-Smith pays homage to acclaimed architect Frank Ghery who in 2003 completed the design of The Walt Disney Concert Hall, the home of the Los Angeles Philharmonic.

Noteworthy for its flowing interlocking diametrical curves and shapes, the digital photograph is a striking blend of line and colour.

Kendra Ezekiel?s ?A Way Without Words?is based on a design of a Roman maze with the use of hand made paper.

Visitors may be bemused by this installation inviting contemplation and reflection.

Including such work in the Biennial is indicative of the National Gallery?s willingness to entertain new ideas and engaging concepts.

The above mentioned works are only a handful of conceptual pieces which also includes the dark and affecting ?One In Seven? by Caroline Troncossi and Katherine Harriot?s feminist inspired ?I will Dress In Red Tonight?.

In contrast there are many other lush and incandescent offerings in the representation genre such as ?Fishy Story, Frank Dublin?s rich tableau on pastel on masonite.

Sharon Wilson also presents a gorgeous rendering on pastel on fabric board in ?Morning Moves?, intoxicating the eye with luminescent hues.

The curators of the exhibition and the international jurors Dr. Annette Blaugrund and Professor Moe Brooker must be congratulated in assembling a cornucopia of talents.