Members' Winter Exhibition of Fine Art -- Bermuda Society of Arts Gallery at City Hall -- To December 23 Ah, winter.

In many a northern city, this is the time of year when those who haven't already retreated to the ski slopes often seek refuge from the snow and the slush in the halls and galleries of their favourite museums.

Such people can be art mavens who flock to every show and lecture on the calender of events or those who are simply rediscovering the place after an absence of many years.

In either case, the result is often the same: a trip to the museum can be just as restorative -- at least momentarily -- as any tropical vacation.

But if the purpose of the Bermuda Society of Arts' Winter Exhibition of members' work is to warm the souls of winter-weary art lovers -- yes, even Bermuda has been known to have a cold, wet day or two -- then it only partially succeeds.

As with any large show -- there are 94 paintings and three sculptures on view here -- the BSA exhibition suffers from the wild unevenness that is always inherent in the throwing together of works that vary so obviously in terms of style and quality.

On the other hand, such juxtaposition can be advantageous from a comparative point of view, as it throws a spotlight on those works that stand apart in any case.

Among the most impressive of the current showing is Graham Foster's "The Courtship,'' a wonderfully rich and exquisitely detailed cafe scene that suggests an early Picasso. From the knocked-over bust to the peering owl to the grinning cat, there is much in this large acrylic to feast on, to delight and engage the eye. It also injects a hint of romance and humour into the otherwise sober collection of work on display.

Hanging near "The Courtship'' -- but light years away in terms of effect -- is Sheilagh Head's very powerful, very dark "Blue Deep.'' A large abstract in oil, it is the perfect centrepiece for a wintry afternoon, when the sky is grey and the mind reflective. What is the "deep'' to which the artist refers? Only she can say. It could be the sea or it could be the human unconscious. As with many great paintings, the answers are innumerable.

Equally striking in an uneven sort of way is the work of William Gringley, whose contribution ranges from the tackily eye-popping "Sunburst Over St.

David's'' to the rather Gothic-looking "Sunset Over St. George's,'' a painting which would seem most appropriate on the cover of some edition of "Jane Eyre.'' Much more effective in terms of style and technique is the artist's "Coot Pond,'' which has a languid Mediterranean feel to it and indeed practically swims within its framing.

Among the other works in the show that stand out for one reason or another are those of Bob Herr (whose "Island Sky'' is appropriately and effectively moody), Diana Tetlow (who in "Pink Hibiscus'' and "Purple Romance'' has truly captured the essence of lush), Helen Daniel (who provides a fresh, unjaded look at some familiar Bermuda scenes) and the always interesting Will Collieson (who in the steel-and-brass "Bullseye'' has produced yet another abstract sculpture of note).

On the subject of sculpture, those who feel that earthenware can't be sensual should seek out Troncossi's "Lovers,'' which is playfully sexy and even vaguely erotic.

Overall, though, the show itself is vaguely disappointing, with only pockets of light and interest. Even so, the gems are there, and one could do worse than to spend a cold, wet day in pursuit of them.

Tucked away in the Bermuda Society of Arts' smaller gallery is a one-man exhibition by Proctor Martin of European landscapes, local scenes and mood studies.

Most are of these paintings are charming if undistinguished, although there are a few knockouts, including "Possessed'' (a provocative, haunting portrait of the effects of age and madness) and "Bermuda Tempest'' (a lovely companion piece that captures the same type of disturbance in a natural setting).

Also noteworthy is "Indigo,'' an acrylic-based work that may strike some as garish but nonetheless enchants with its spewing fountains of black, fiery red background and overripe intensity.

Mr. Martin's show closes tomorrow.

DANNY SINOPOLI