"Is there anything Milton Hill cannot do?" That is the question which springs to mind as he and his daughter René open their father-daughter exhibition in the Bermuda Society of Arts' Studio A at City Hall this evening.

Among Mr. Hill's many talents are making detailed model boats in Bermuda cedar and painting Bermuda scenes of yesteryear in acrylics, for which he also makes the Bermuda cedar frames.

This time, however, the artist has gone beyond his obvious love of marine models to create, in perfect detail, a cahow in flight – also in Bermuda cedar – inspiration for which came from a Chris Burville photograph on the cover of rg Magazine.

Mounted on a natural cedar branch set in Bermuda stone, it is impressive in its detail. Every feather on the trailing edge of its wings and its fan-shaped tail has been crafted from tiny slivers of cedar, waxed and individually mounted. Even the differences in colour between the bird's top and under plumage are reproduced.

A man who loves anything to do with boats, from building real ones – his first, The Ark, at age 15 – to studying their history, Mr. Hill's knowledge and experience is extensive, and this is reflected in the intricate detail of his models.

In fact, he only discovered recently that 'boats' are in his genes, with ancestors on both sides of his family including shipwrights and fishermen, which explains his affinity for everything to do with boats, including their history, design and characteristics.

Taking pride of place in this collection is a Bermuda gig, the largest of whose wafer-thin sails is made from a piece of bird's eye Bermuda cedar.

Briefly recounting the vessel's history, Mr. Hill says that, in the days of privateers and pirates, Bermuda boats were renowned for their swiftness and ability to reach (sail upwind), so were coveted by the nefarious seafarers. Knowing this, the British adapted the Bermuda gig, built up to 70 of them for defence purposes, one of which was even used in the Battle of Waterloo.

Justifiably proud of his replica gig, all elements of which are handmade, and some of them incredibly minute, the artist pays tribute to Jane Downing at the Bermuda Maritime Museum for her assistance with historical research, which has resulted in a finely-detailed, fully rigged model. In all, Mr. Hill is exhibiting a variety of boats, including fitted Bermuda dinghies and Baltimore clippers. In terms of his paintings, he has chosen to reference and capture such scenes from the past as the ferry terminal with the Corona, Wilhemina and Chauncey M. DePew alongside; the Frascati Hotel (later Coral Island Club) in Flatts; 'Weatherbird' and his dogs on Front Street east; Heyl's Corner in Hamilton; and the original road leading to East Broadway, complete with the poinciana which still exists today. New is a diorama featuring a painting of Somerset Bridge, with the little houses crafted from real Bermuda stone, and the bridge executed in Bermuda cedar. The gombey receives a very unique treatment by Mr. Hill. Crafted entirely of mussel shells and mother of pearl, it is cleverly conceived and beautifully executed. In addition to his frames, Mr. Hill also makes his own glass and cedar cases for the model boats.

Like her father, The Royal Gazette journalistRené Hill is also multi-talented, and joins his exhibition with a collection of crocheted necklaces in various stitches to which she has added mother of pearl pendants and sterling silver clasps.

She first took up crocheting as a child, thanks to her late, great-great aunt Edna (Place) Darrell, who inspired her. "She was always crocheting tablecloths at my grandmother's house on the weekends," Miss Hill remembers. "She was one of those people who came over and sat on her favourite chair and just crocheted and crocheted. It was through her that I learned to crochet. I then began making 'granny squares' and other little things. Later, as a teenager, I began making hats for Rastafarians, and in fact I was a bit of a Rastafarian myself. Back then, I only charged for the yarns, which were inevitably red, gold and green."

Many years later, Miss Hill took up crocheting again when her daughter, Renneka, wanted to learn the craft. However, the lessons were not very successful, and when she returned to university a ball of yarn and a crochet hook were left behind. Purchasing 'The Crochet Stitch Bible', ostensibly for her daughter, then led to Miss Hill buying a pattern for the first time, following the instructions, and successfully making herself a shrug.

Scarves for birthday and Christmas gifts for family and friends soon followed, and as word spread and demand grew, she added baby clothes for her granddaughter, Daniella, to the mix. Making necklaces began with a visit to a St. George's boutique where Miss Hill saw a beautiful pendant on an inferior beaded necklace, bought it, took it home, and forgot about it for months as she was, by then, into quilting. "I saw the necklace again in May and thought, 'Let me see what I can do with this in the way of crochet', and I made a necklace using the simplest crochet stitches," she says. "When I wore it for the first time, I did not expect to be stopped on the street, or wherever I was, by random strangers asking me where I got it from. This, of course, led to me making lots of pieces for random strangers, friends and family."

Two months ago, Mr. Hill invited his daughter to exhibit with him. Initially, she declined but her father prevailed. "Dad convinced me that I should show some of my work, as so many people enjoy it. His argument was that it, too, was a work of art, so here I am about to debut, as it were, at the City Hall Gallery. Whoosh!"