Unjuried exhibitions are often difficult to review. They are usually varied and of mixed quality, nevertheless, such exhibitions are important, for they do allow beginners opportunity to exhibit. On the other hand, there is danger that more accomplished artists may avoid showing in such exhibitions and thus the general quality of such shows may be lowered. This kind of thinking was in my mind as I travelled out to the Bermuda Art Centre at Dockyard recently. I wondered what I would find to write about in their open summer exhibition. Happily, I need not have been concerned. Although mixed in every possible way, there is certainly enough in this show to capture the interest of most.

The show is arranged, so that upon entering the exhibition hall, the large, magnificent, freely brushed ink drawings of Kok Wan Lee caught my eye. All three are about tea pots. This work alone, plus a number of others, makes the trip to Dockyard worthwhile.

Just across from the tea pots are six watercolours by Molly Godet. All are in her characteristically bold approach to art making and all are eye-catching. But her 'Blue Cactus' is what got my attention. It is not only boldly painted, it is notably economic in its depiction of the subject. Much is suggested with only a few quickly painted areas of colour.

Amongst Michelle Lindo's contributions to this show is a small acrylic, monochromatic blue painting entitled 'Line Storm'. It depicts a distant, passing squall on the horizon. This too is freely and economically rendered.

On the back wall are three acrylic paintings by Adrian Herald that are also notable for what is implied, rather than, specified. For example, his 'Communion' shows a simple, flat, monochromatic, heath-like landscape. Crossing horizontally over the bottom half of the painting is a path-like line and in the middle, there are two vertical, tan-coloured brush-strokes that suggest people, hence the title. It appear as if a couple are walking in a barren landscape. Nevertheless, the design is essentially an abstract. Adrian Herald is new to me and I wonder where such an accomplished artist has been hiding out in Bermuda. Indeed, is he living in Bermuda? Will we again be favoured with seeing his paintings?

Kathy Harriot's 'Deep' is yet, another of her wonderful monoprints and as often is the case, this one suggests a submarine world, possibly a submerged cave, where light filters past stalagmites, protruding from the depths. Basically, Ms Harriot uses two colours, blue and a dark, muted reddish, brown/black. The blue varies in tone, but appears as lighted liquid. Her monoprints are made with acrylic paint, which, it appears she pours the paint onto a smooth surface, such as glass and then places the paper on top. She then pulls the paper away from the matrix. This results in the characteristic pull marks that go with this process.

One of the few sculptural works in the show is Suzie Lowe's 'Family Ties'. It is an abstracted grouping of three figures that are joined together at the base. Protruding from their heads are nails and coiled wire antennae-like. The work itself is dark, almost black, its atmosphere sinister. Maybe they're Martians. Whoever they are, this is a fanciful, imaginative rendering of humanoid creatures. Another small sculpture in the show as well and that is a bronze of a Gombey dancer by Elizabeth Trott. The dancer, although small, is energetic. One senses the motion of the dance. Although small in size, this work demands attention.

The two, petit fabric collages of Lara Hughes are so small, one could easily overlook them. which would be a pity, for they are indeed exquisite. Small works require a different kind of viewing. One needs to get up close. Only then will one see the minute details, such as the notably delicate textures and varying colours of different fabrics.

April Branco's charcoal drawings detail human parts, such as arms and legs, which are so arranged that one may also see them as abstractions. Ms. Branco is an accomplished artist, especially with charcoal and this is significant, for the ability to draw well is, for artists, a necessary skill that often overlooked.

The exhibition continues through September 7.

■ While I was out at the Dockyard reviewing the Art Centre show, I took the opportunity to visit Commissioner's House in the Maritime Museum. I went there especially to see the mural-in-progress that is being painted by Graham Foster in the back stairwell of that building. Although it is only about two thirds finished, even at this stage, it is an impressive work. I believe that the artist has spent more than a year on it already. Seeing this painting, fortified what I have been saying for sometime now. We have enough artistic talent on this Island, that, with enough enlightened patronage, the arts could really take off. Bermuda could become a place known for its artists and people would come here, because of them. I look forward to seeing the finished mural. I am told that possibly another six to eight months is needed to finish the work completely.