It seems that pastel is the current medium of choice in Bermuda, what with the Sharon Wilson and Students exhibition at the Art Centre and running concurrently in the Rose Garden Gallery at the Masterworks Foundation, is the Dean Walker (pictured) pastel exhibition. Like the Art Centre show, the Walker show also seems to be an annual affair.

This is at least the third Dean Walker solo exhibition that I have seen in just a tad over two years. Additionally, I remember his work from the Bermuda National Gallery's Biennial Exhibitions and the very fact that he made it into the biennial, is a clear indication of having attained a high standard of performance. This present exhibition though, is in my estimation, possibly his best. He seems to have developed a competence, an authority that is beyond anything I have seen before. Indeed, his present work has an energy, a spontaneity, even a boldness that is new to me.

Unlike his past exhibitions, however, which were mostly scenes of the sea, and otherwise, the Bermuda landscape, this exhibition has depictions of such far-away places as Nepal, Arizona, Michigan and it would appear, elsewhere as well. There is also and not unexpectedly, a good number of Bermuda landscapes, but for me, the "star" of the show is, #3, 'Loose Impressions'. This is well named, for it is a freely energetic rendering of waves, crashing against rocks, with a Bermuda roof just visible to the upper left in the background.

There is nothing laboured or muddy to be seen. It is as if every move and stroke was exactly what was needed at the moment. He, moreover, has caught that moment when the waves are breaking and spray flying by means of, bold, gestural sweeps of the pastel across the surface of the paper. It is an effective method for expressing the force of the sea.

Walker's use of colour generally and specifically in #3. 'Loose Impressions', is a little too hyped, I thought. When it comes to describing Bermuda, I found them too intense. But having said that, possibly this is due to his using his colours unmixed, unblended, straight from the pastel stick.

Another Bermuda work that halted my walk through the show is #9, 'Flip Side'. It is a good example of dynamic balance. On the right side of the composition is an upturned boat, but leading the eye to this dominant element is a wall that inclines from the left. Again, the forceful use of gesture, creates a sense of movement, from left to right.

In two instances, Walker breaks out of his landscape mode into figurative representations.

The first such, along the wall of the gallery, if you walk the show in the order of the catalogue, is a picture of a Nepalese potter working up a clay cylinder on the potters wheel and then across the gallery is a young person with an exotic musical instrument. The work, #13, is entitled, 'I'll Sing to Tibet'.

This is not a large exhibition, but as is often the case with small shows, it is more manageable and enjoyable. There is not that pressure to keep moving, as there is with large shows.

Large exhibitions are often initially bewildering. There is none of this with this exhibition. Do try to see it.

The exhibition, at the Rose Garden Gallery, Masterworks, continues through today.