April 24.

*** There is indeed an air of renewal in the Spring Members' Show and there are probably several reasons for this seasonal phenomenon.

First, and for whatever reason, the sharply reduced number of exhibits makes this a more pleasant show to browse around and easier to absorb. A total of 130 works, which include sculpture, photography, pictures and even a sprinkling of jewellry, as opposed to the more than 200 items usually selected, is far more suitable for a one-room exhibition.

This sizeable reduction has also meant that the show has been hung with a thoughtfulness and attractive cohesion that has necessarily been missing in the crowded walls of recent exhibitions.

The jury system of selection is not only intact, but apparently bristling with sterner resolve and in marked contrast to the last couple of shows when the juxtapositioning of the professional with the rank amateur brought to mind that cliche of the sublime and the ridiculous. It's good to see that artistic sense is prevailing once again -- a change of tactics engendered, perhaps, by the competition next door.

Not only are some of our best artists on show but several of them are moving into different and intriguing new directions. They, in turn, are joined by some promising fresh talent. All of which makes this one of the most satisfying shows in a long time -- and well worth several prowl-arounds.

Definitely not to be missed is the inimitable Peter Woolcock's Who's Afraid of Georgia O'Keeffe?, so beautifully drawn and so succinct a comment on the O'Keeffe work now gracing our National Gallery.

There seems to be an unusually promising bunch of young or new artists working in a variety of media in this show, which bodes well for the future of the Society. Graham Foster's almost precocious talent has now turned, with predictably fascinating results, to steel and wood sculpture. There are three figure studies from the student portfolio of Peter Brown that capture the Movement of the titles with a fluidity of form that is most impressive for an artist who is still at school.

Two arresting works are William Gringley's boldly painted conception of water and rocks and Douglas Walker's Town Crier portrait, which, with its starkly delineated realism, certainly makes its presence felt.

There is plenty of scope for speculation and sheer enjoyment in the work of our established artists. Diana Tetlow, for instance, has but one portrait on show -- but what a beauty it is. Interestingly, she has reverted to oils rather than the recent predominance of pastels for this portrait of St.

George's' "uncommon councillor'', who positively glows with joie de vivre in this richly brushed work.

Elizabeth Mulderig is in mellow mood with a spectacular oil study where her cylindrically drawn torsos and layered colours are reminiscent of early Seurat.

Otto Trott is one of our professional artists who is exploring different emphasis, peopling his Bermuda scenes with splendidly al fresco figures bringing a new focus of interest to his always very individual landscapes. And Sheilagh Head has also made an unexpected turn to the human form with a lyrical portrayal of a young girl set against an atmospheric, Gothic-inspired background.

Maria Evers Smith continues to strengthen her versatility with softly impressionistic landscapes and a contrasting brilliantly hued and vibrantly brushed study of nasturtiums. Valerie Weddup is also in top form with a stunning earth-coloured study of a farm seen in a sweep of ploughed land.

There is one corner devoted to African-inspired art, best represented by Robert Bassett, whose abstract impressionism is again signatured by the haunting eyes that dominate his insubstantial figures.

And how good it is to see that Sam Morse-Brown, now in his 90th year, is still engaged in the creative process. His Endangered Species is an disturbing statement on the ills besetting the world as this century draws to a close.

His two chalk portraits of Falklands War heroes are, on the other hand, serenely and quite exquisitely drawn.

PATRICIA CALNAN SPRING SHOW -- Mr. Leonard Ming (left) and Mrs. Darren Bell take a look at the work of artist William Gringley in the Bermuda Society of Art's Spring Show at City Hall.