My first impression upon entering the Member’s Autumn Exhibition of the Bermuda Society of Arts is that the show is well presented. By that I mean, the hanging arrangement of the pictures appears to be thoughtfully organised. Additionally there were no frames that I could see that stood out as jarringly inappropriate. My initial impression is positive.

Because of the large size of this exhibition, I will only be able to highlight a selection of works from the show, but I will attempt to convey something of its flavour. Since this is a members’ exhibition, quite a few artists are exhibiting. Not all are at the same level of accomplishment, of course, but the beauty of the occasional open members’ show is that it provides beginners an opportunity to exhibit. This is necessary for the health of the organisation. It encourages artistic growth of individual artists, but also aids the development of the organisation.

Upon closer inspection, I found the show to be full of surprises. There are 24 artists exhibiting. Of the 24, over half are new on the art scene here in Bermuda.

Included in the group of new artists are two who are well known in the community, but for reasons other than their artistic endeavours. One such participant is MP Dale Butler who is exhibiting two photographs that appear to be the result of travels in the Far East.

One, given its title, “Working Flat Out,” is especially amusing. It is of someone repairing a bicycle’s flat tire. His second work is a black and white photograph of a sleeping child. It is entitled “Peace at Last”.

Not only is it a beautiful photograph, it is impeccably framed.

Dr. Joseph Francioni is also exhibiting photographs. I especially noted the sensitive choice of frame for his “Portrait of Alex”. By sensitive, I mean that the choice of frame and mat tied in beautifully with the photograph itself. They work together in beautiful harmony. The portrait is notable in that the most prominent feature are the eyes. Much of the face and head are otherwise hidden, by a hat and other appendages. Interestingly there are also three photographs by Dr. Francioni’s daughter, Alexandra Francioni, so we have not only a portrait of her, but a selection of works by her.

Susan Anderson, another newcomer to the BSoA is exhibiting a charming small painting of a Bermuda window and shutter, located in the middle of a pumpkin-coloured wall, that works well with its gold frame. It is a simple composition but one that holds our interest. Although a small painting, it is placed on the wall in a way that allows it to be in its space without being dominated by it.

Vanessa George’s “Aunt Jessie’s Garden” is a large, coloured pencil drawing tour de force. Although the frame is simple and understated, I wondered about the way it was framed, for the drawing is bang up against the glass, and here in Bermuda with our humid climate, that will produce a conservator’s nightmare.

Kok Wan Lee has a series on exhibit entitled “Wonderland.” It brought back for me, memories of my student year in Germany in the early 1960s. I then had a pocket microscope which I took on hikes and often spent time flat out on my belly, observing tiny creatures and wondering what it would be like to be so small. Grass would seem a forest, but of quite different colours from typical trees and woodlands. Back then I had thought I might try to paint such a scene. Mr. Lee has done it for me.

Peggy Rowden is another new name on the art scene, at least for me. Her “Deep Red,” despite its small size, is a painting that drew me from across the room. It is a simple colour field painting that has a presence way beyond it tiny dimensions. Unfortunately it was hung in the middle of the wall: it would have worked better in a less overwhelming location.

Sonia von Walter is also exhibiting a small painting. This work depicting a woman’s head, is entitled “Meditation”. Here, by contrast, we have an example of a small work in a suitably appropriate space. The painting and its surroundings, interact together to enhance the painting. It does not have to fight the space for attention, neither does the space overwhelm it. Additionally, the understated frame does not draw attention to itself, but still gives the painting presence.

Both Alice Coutet and Trevor Todd have recently exhibited at the Masterworks Foundation. Their entries in this show are from their earlier exhibitions, but good work is always a pleasure to see again. It is possible too, that many did not get to see their earlier shows.

Peter Hebberd’s “I25” is a design depicting 125 leaves from varying plants. It is a revival of the Art Nouveau style of a century ago.

Lynn Morrell is showing a quilted wall-hanging that gives a sense of winter. It is of a bare, rather grey tree placed within a gray stone arch. I was intrigued by the way she took a fairly detailed tree and allowed its branches to trail out onto the stone-work by means of stitchery.

Rick Aspin’s unusual photograph entitled “News,” shows a wall covered with the latest news in Spanish, with people standing around reading it. The way the work is framed and matted is refreshingly different. The mat’s window is placed high within the frame so that there is a greater amount of mat at the bottom. This way of matting was popular 50 years ago, but enough time has elapsed for us to find it unusual once again.

Marlene Jantzen has three watercolours in this exhibition. I think the most successful is the one that is also the simplest compositionally. It is called “Cooper Cedar”. Its success is partly due to the freshness of the application of watercolour. Additionally, although small, this painting has a dynamic balance, due to the slightly off centre placement of the tree.

This exhibition closes tomorrow.