Sharon Wilson is not only one of Bermuda's stellar artists, she is also a notable teacher. Gareth Finighan, in a recent interview with Ms Wilson, asked if she thought art could be taught. She replied with an affirmative "yes!" and having taught art myself for a number of years, I agree but with qualification.

I would say that art can be taught as much as any other subject can be taught. By that, I mean, the teacher creates a learning atmosphere and then presents the subject, but the effort brought to the learning experience on the part of the student is possibly the most important component in the entire process. Without that effort, all the preparation on the part of the teacher will be for nought.

Sharon Wilson the teacher, however, is obviously successful and much of that success, I believe, is not due to her extensive experience as an artist, but also and most importantly, to her enthusiastic personality. Additionally, the fact that many, if not most of her students are mature and seek her out, says much about the kind of students she has attracted to her classes. It seems to me that this is a win-win situation.

Currently, Sharon Wilson and students are exhibiting their recent pastel creations at the Bermuda art Centre at Dockyard and it is worth the energy to get out to Dockyard to see it. It is a richly rewarding show. Ms Wilson captures moments in life and passes on this ability to some of her students. This makes her works and theirs so much more appealing, for we see ourselves in their drawings.

As one enters the gallery, to the left, Ms Wilson is showing 'Market Day at Bullshead'.

It seems almost redundant to say that it is outstanding. That almost goes without saying, except one should never take anything for granted, I suppose. What is so notable with this particular work, as well as in just about all her other landscape compositions, is that she includes people.

Most Bermuda landscape painters exclude them, so it is refreshing to see people in these works; after-all, Bermuda is by now an almost entirely man-made environment. It is difficult to go anywhere and not encounter people. 'Market Day' is crowded with people but the entire atmosphere is natural and business-like, as usually happens in market situations, with market-hands and shoppers all mingling together. It is obviously a sunny morning and the colours are richly contrasted with darker intervals between. This creates a energetic pattern throughout the whole composition.

This exhibition it seems, is an annual affair and as usual, it is large. I will only be able to highlight it, as space is limited. But on a walk-through, I noted a couple pastels by Brenda Holder-Bridgewater, particularly 'Childhood Memories' and 'Girls wading in Shallow Water'. Like her mentor, she, too, includes people. This is commendable.

Exceptional in this exhibition are three charcoal drawings by Pauline Monteith. All three are of animals, a horse, goat and cow. What I found appealing in this group is that, in working up the composition, she used a grid system to either enlarge or transfer the subject from a sketch or perhaps a photograph. I like the way she allowed lines form this grid to remain. It gives us an indication of her process, but it in no way interferes with the overall design.

Frank Dublin must be one of Ms Wilson's long-term students and in this exhibition, he is showing a number of pastel drawings, or should it be paintings? They look like paintings. Anyway, one work that caught my attention is 'Still Standing, St. George'. It depicts an old Bermuda wooden house with surrounding vegetation.

Particularly striking is Monica Smith Jones' 'Bottles and Bowl #1', which is a pastel on fabric board. The artist has applied the pastel in heavy layers on a highly textured surface. The build-up of pigment is rich, although the work is basically monochromatic. Zelata Oliver's 'Egg-Actly' is a precise rendering of two eggs. The care and thought given to producing this drawing is notable.

Elizabeth Jones is known for her writing, but she also has a good eye for composing visual element. Two of her pastels, 'Sandbox Cottage' and 'Lost in Venice', are not only sensitive renderings of the subject, they are carefully composed abstractions. When making my rounds at the show, I wrote in my notebook, "abstract realism''.

Neighbouring Ms Jones' work but on the other side of the panel is 'Governor's Alley, St. George', by Andrea Peets. I remember her work form last year's show, so she has been studying art for a while and this is paying off with good, well composed pictures.

Other works that came to my attention as I walked though the show are: Clare Wood's 'Pawpaw'. Likewise, Sharon Nannini's 'Tuscan Pots', which appear as sturdy containers. This is a monochrome in browns and yellows. Both are studies in solidity.

Meredith Smith's 'Wash day', depicting blowing, white sheets, is vividly reminiscent of a similar subject that Sharon Wilson created many years ago. Clothes drying on a line is not that common a sight anymore, although I am sure some still hang laundry out to dry on clothes-lines.

The exhibition continues through September 29.