The underlying strength of Vernon Clarke's art is his considerable ability in drawing. This is evident in his solo exhibition in the Edinburgh Gallery at the Bermuda Society of Arts and in a half dozen additional works in the figurative exhibition in the Society's Onions Gallery. Almost half of the show consists of actual drawings and for most, this is where Clarke's ability as a draughtsman is most obvious.

On top of that, however, good drawing is also the foundation of his paintings. At a time when many art colleges are playing down the importance of drawing in artistic endeavours, it is useful for would-be artists to see just how crucial it actually is.

About half of the exhibition is in portraiture. This requires not only ability in drawing but also great concentration in observation.

The other half consists of figurative works. This too requires careful and thoughtful attention to looking and seeing, as well as good hand-eye coordination in rendering the figure on paper or canvas.

Traditionally, in the training of artists, much time was spent in what is called the "life room", where students would hone their drawing skills by working from the model. This was considered important, because, any weakness in ones ability in drawing, became immediately obvious.

We know ourselves far better than say a tree or a rock and any carelessness in observation quickly becomes apparent. It is certainly apparent that Vernon Clarke, has had a thorough training in this area, which he seemingly applies with ease. I say, seemingly, because, individuals who, have developed these skills through hard work, often seem to do it with naturalness and freedom.

All Clarke's drawings in this exhibition are in charcoal. This is a medium he seems to favour, although having previously seen work by him in graphite, I would say that his mastery is evident in whatever medium he uses. What is especially clear, however, is his ability to make a line that carries weight and authority. His lines are often long and free.

At times, though, what appears to be a line, will suddenly seem to disappear and become an edge. In this case, one is more aware of edge than line itself. In other words, his use of line is varied. Although he favours long lines, other contrasting lines and marks are employed, as a kind of counterpoint in the over-all composition.

When attending exhibitions, I often play a little game with myself, and that is, I ask myself, the question: what would I purchase if I could select just one work? That tends to focus my attention on what I find most interesting. With the Clarke exhibition, that proved difficult, but in the end, I selected a work from the figurative show, entitled, 'A Long Winter's Nap'.

To me, this work appeared to be the most naturally and freely rendered. I was also interested in the way Clarke's uses the diagonal in this composition. Diagonals are typically the most active of line directions, so applying it to napping is a fascinating exercise. The fact that it is tied to the edges, helps to pin it down and calm it somewhat.

If I had to purchase a portrait from this exhibition, it would probably be 'The Kani Legacy'. This is a depiction of a young dancer from the female counterpart of a Gombey troupe. The work is highly expressive. The paint, which is colourful, is applied with energy and freshness. When it comes to paint, Clarke seems to prefer oils, for it has a richness that most other paint media cannot match and in this show, all the paintings are in oil paint.

There are 25 works in Vernon Clarke's solo exhibition. That does not count the half-dozen works in the figurative show next door.

This is a fine exhibition and I recommend seeing it.

Incidentally, just because I mention a couple works in this show, that I am particularly drawn to; this does not imply that these works are necessarily better than the others. Each viewer's own life experiences will colour reactions to the exhibition. Possibly an analytical approach to seeing each work, especially an analysis of the composition and the techniques used in achieving the artistic results, might be helpful in coming to an understanding of Vernon Clarke's accomplishments. Additionally, the subject matter will be something to consider. Clarke provides subtle hints and symbols that can add to our grasp of the narrative, imbedded in each composition.

The exhibition closed on Wednesday.