CLINTON, WILL COLLIESON. ADMIRALTY HOUSE, SPANISH POINT.

As the title says, most of the work on show at this weekend exhibition grows on you after a bit.

Cases in point are the deceptively simple exhibits by Kendra Ezekiel, using paper in origami-style work on a grand scale.

And the five artists -- although different in styles and media -- had enough space in Admiralty House to allow their work to breathe without crowding each other out.

The only pity is that the show only ran from Friday to Sunday -- a longer run would have been sure to attract more visitors.

Ezekiel's work is reminiscent of the cool, pale pieces of the Japanese masters of paper art and the simple, clean lines of Admiralty House lent themselves well to her exhibits.

Her Breakthrough burst off the wall using paper to create a spiky star or flower-shaped work in three subtly different shades of cream, all sharp edges and points.

And Ezekiel's Detail of Mary Magdalen took the form of a Gothic stained glass window -- but in pale cream with only purple diamond-shaped stitches standing in for leading.

Sinuous lines and slashes through the paper drew the eye and a second look was a rewarding process.

The Japanese theme was continued with two wall hangings by Antoine Hunt. The largest, a scroll black backcloth with pale stems rising from the floor and topped with the merest hint of colour to reward the eye induced the contemplative mood of a Zen master.

And the roughly hacked bone-white wood and rope of the rollers at top and bottom provided an earthy organic touch in contrast to the delicate artifice of his slender ivy-like painting.

Some of Johnny Northcott's pottery work was almost Grecian in its grace. One large vase -- rust-coloured and verdigris lines -- was redolent of the earth and its simple yet satisfying shape was perfectly in proportion.

But I don't know, is pottery art or craft? Very much up to the beholder, but I'm firmly in the latter camp.

Paul Clinton's series of photographs was redolent of the 30s, complete with the sepia tints of a bygone age. His clever use of light was most evident in 4 Your Bottles Only, with the light dancing off the curves of the glassware.

But his cedar sculptures, putting one in mind of Henry Moore, now undergoing a bit of a negative revision in his homeland, took a long and complicated route to nowhere.

Will Collieson, characteristically, I suspect, burst out of the confines of Admiralty House's space with one metal piece taking pride of place in the garden.

Much of his work on show, however, was seen recently at the Bermuda Society of Art's gallery at City Hall.

But his cowskin, complete with head and udders, called View From the Udder Side, was a clever parody of the Indian Empire standard tigerskin rug and a welcome piece of witty pop art as light relief.

RAYMOND HAINEY REVIEW REV