The "Small Show" used to be an annual Christmas exhibition at Heritage House. Now that this business is no longer operating, it seems that the regular participants from that show, are continuing it at the Bermuda Art Centre with works from other artists included. Thus this show is fast becoming another Bermuda Christmas tradition, along with the National Trust's St. George's open house and the Pantomime.

The obvious purpose of the show is to provide opportunity for thr public to purchase small works of art at attractive prices and as such, they make ideal gifts. There are 24 artists participating with 129 art objects on exhibit.

The art in this show is mostly decorative. Some may see this as a weakness, but at Christmas, that is what we do ¿ we decorate; we decorate our houses, our yards and ourselves. Although the term "decorator art" is usually considered less than complimentary, I think we can make allowences for it at Christmas and indeed, as I walked through this exhibition, I noted a preponderance of gold, especially gold frames. If you have been a regular reader of my reviews, you will know that I am cautious about using gold, as it tends to dominate everything, but somehow with these small decorative works, gold seems appropriate.

Since this is a large exhibition, I am unable to consider every work, but as I walked though the show I noted several that caught my attention. Allow me to focus on these.

On the east wall near the front desk is a small, exquisite watercolour by Sally Simons. It is especially notable for its delicacy and clean application of watercolour washes.

Further along the east wall are seven paintings by Maria Evers Smith. I particulary remember her "Somerset Cottage''. Depicted is an entrance porch of a yellow cottage, seen from down a tree-lined drive. I recall a painting by Cezanne that employs a similar composition and subject, which I suppose is one reason why I was drawn to this work of art. I often see the influence of Cezanne in Mrs. Smith's paintings and the colours of Bermuda are not unlike those of Provence.

If you want action, you will find it in the paintings of Jonah Jones and his "Deck Action' is a prime example. He applies his oil paint thickly in bold sweeps of the brush. You can feel the action in the paint as well as see it in the subject.

Rhona Emmerson's "Garden Steps" draws you into the illusionary depths within the painting. She achieves this by means of light and shade. The eye moves through shade into the light background, at the centre of the composition.

On the back wall are two work of an artist who is new to me, but one whose work I hope will frequent the walls of our galleries in the future. I write of Michael Cacy. In each of his two paintings, there is an element of surprise. In "The Crow'', it is the crow that surprises. The painting is of a white Bermuda cottage and surrounding garden but against the white of wall and roof is the black silhouette of a flying crow. The watercolour is remarkable for its clean, precise lines and colour. Next to it is another Cacy painting entitled "Ely's Harbour''. In the midst of a cool environment a bright red buoy floats out in the harbour. This too is a surprise.

Further along the back wall is a group of 13 watercolours by Christopher Marson. With this masterful watercolourist, it is difficult to single out any one work for consideration, but, I found "Road To The Ferry'', especially satisfying.

Around the corner on the west wall is a group of oil paintings by Melony Kendell. The one that I particulary favoured is called, "Under The Norfolk''. This artist is relatively new on the Bermud art scene here, although I saw a recent exhibition of her work at the Masterworks Foundation.

Of all Jackie Stevenson's art, I was struck especially by her "Southlands''. Evidently, without even intending to be political, her choice of subject is just that. This subject was chosen by a number of artists in recent exhibitions and in every case it is the giant, so-called walking tree at the property's entrance that is depicted. Ms Stevenson's selection of pastel as her medium and the way she handles it, is such that the subject appears as mystical and moody.

Christopher Grimes seems to be back to illustrating the past, or is he just choosing subjects that are somehow timeless. At any rate, I focused in on " Ferry Keeper's Cottage''. I suppose that I am drawn to it for several reasons, one being that the Ferry Reach area is a place that I especially favour and this cottage is a subject that I too have used in several paintings. Ferry Reach also lends itself to the way Mr. Grimes paints.

Another of Mr. Grimes' paintings that caught my attention, is "Frank's Bay''. It is the apparent random arrangement of boats, that helps make this composition. The punts have been pulled up in a casual manner on the beach and grass beyond and Mr. Grimes has made use of this scene, by positioning himself, or was this something he rearranged in the painting to make an interesting composition. That is the artist's prerogative and he has successfully accomplished the task, however he went about it.

One work that stands out in the whole show is Molly Godet's "Sunday Morning Carole's House''.

This simple watercolour is notable for the masterful handling of the wet in wet watercolour technique. This painting depicts an early, misty morning in which, in the midst of all the softness, is what I take to be Carole's house; by contrast, the house is painted as crisp of edge and somewhat abstracted.

Sheilagh Head has contributed three paintings Her "Blue Water's, Spanish Point'', is one to see. She has abstracted the subject, in her typical manner, but with a boldness that enlivens the painting's surface.

Angela Gentleman has gone Asian in nine mixed media paintings. Although priced seperately, they seem to work as a group. Her use of either the Chinese or Japanese script makes me wonder what it all means. At any rate, I don't suppose it really matters, so long as it works compositionally.

Kok Wan Lee continues his "Teapot" series and they do seem genuinely Asian. This is appropriate enough, of course.

Diana Amos' acrylics on panel show various views of what appears to be mostly the St. George's area, although when it comes to boats, it could be almost anywhere. Three paintings that I found appealing are "Bermuda Dinghy'', "Beyond St. Peter's Doorway" and "Crooket Elbow''.

Stacy Amos is showing her illustrative paintings of sea life. Of her three in this show, I found her "On The Reef" notable for its detail of reef life.

Molly Smith has contributed five watercolours to this exhibition. Four of these are her typical civil scenes of Bermuda. The fifth one is a fall scene from Vermont.

Most of this exhibition is devoted to paintings but there are a few three-dimensional works. There are several ceramic sculptures by Suzie Lowe. "Middle Child" is one to see.

Chesley Trott also is exhibiting a number of his cedar carvings, several being of abstracted reclining figures. In that respect, I thought of Henry Moore, nevertheless, Mr. Trott's carvings are always in his own particular style.

Other decorative three dimensional pieces in the show are several stained-glass angels by Carla Marquardt and ceramic plates by Helle Pukk.

This is a fun show that most will find satisfying and enjoyable. It continues through January 18.