I strongly criticised the Society's last show before Christmas and was quite surprised at the amount of flak I received in return.

Well, although I might be accused of losing my nerve and bottling out, I have to say that this season's show is a lot more successful. Mind you, without harping on about the past, it seems the main reason for the improvement is that the judging panel -- whoever they were -- were a lot more selective in their choice of what to hang. Have some of last season's artists decided to hang up their pallettes or were the judges just being a bit more critical this time around? I don't know, but, although there is certainly a lot less dross and over-priced awfulness at this exhibition, I suspect the organisers were left a bit short with the number of actual paintings they had to choose from. Perhaps successful might be the wrong word to describe it after all.

Nearly a third of the exhibits -- 18 out of 61 -- are photographs. Is this the direction in which newly elected president Bruce Stuart wants to steer the Society? I hope not.

Also, some stuff is doing the rounds for the second time. I love Joanne Burton-Harris's collection of six pretty harbour scenes but they have been on display at another recent exhibition.

The same can be said for five watercolours by Luca Gaspier, which were part of a one-man show at the Edinburgh Gallery just last month, and also Jackie Stevenson's Day Dream. If you include a Carole Holding watercolour (well let's face it -- all her pictures do look the same) that means that just 32 of the 61 exhibits are original paintings which, even if they are well presented, is a little disappointing.

While there might be little that is horrendous, not much stands out as brilliant either.

John Mills' two watercolours Morning Work and Blowing In were both well executed, although there was something a bit formulaic about them, almost as if Mr. Mills had copied directly from step-by-step painting guide.

The same can't be said of Manuel Palacio's work which was big, bold, bright and brash.

Jonah Jones took a break from painting his signature lurid local scenes and instead submitted a series of oils featuring close ups of rock beds and tangled vines which ended up looking almost abstract -- and pleasing too.

Matthew Clifford's nude Lisa Series Part II was highly original and I enjoyed Graham Foster's highly decorative India Series.

Caroline Troncossi submitted a series of three panels entitled Layers of Earth I, Layers of Earth II and Sprouting.

To me they looked more like a trio of heavily starched tie-dye shirts hanging on the washing line. Not something I would fork out $900 for.

And this season's booby prize goes to Proctor Martin for his small oil of Fair Head, County Antrim. Sorry to single you out Mr. Martin, but how on earth did that get past the judge's critical eye? Perhaps they were scraping the bottom of the barrel.

GARETH FINIGHAN ART REVIEW REV ARTIST ART