Vernon Clarke's current exhibition at Common Ground on Chancery Lane, Hamilton, mostly features portraits, although there are a couple pictures that are generally figurative and obviously based on old photographs, for they depict an era when most of us got around by bicycle – the kind with wicker baskets and brass stays.

In one, 'Rendezvous on Queen', a young man is conversing with a young woman, but both are standing by their "wheels".

In another, 'The Conversation', a group of men are talking and again, they are standing by their bicycles.

There is also another figurative picture of men standing on ladders, painting a building. It is called 'Painting the Island'. It shows a group of men painting the Island Theatre.

But, as already intimated, the show is primarily about portraiture.

Interestingly, this is the second portrait exhibition that I have reviewed within the past month and both deal with the modern portrait. Is this the beginning of a trend? I might wish so, but I doubt it.

Most Bermudian artists appear to shy away from portraits and the figurative and for good reason: it is one of the more difficult subjects, usually requiring considerable training, especially in drawing.

I realise that many of our younger artists are art school educated, but current trends in art training seems to neglect the development of this skill. It is no longer considered necessary, as contemporary art is not usually figurative and is often conceptual. I think I see a reaction to this kind of thinking setting in, however.

On recent visits to galleries in New York, for example, much of the art I saw was realistic and frequently figurative. This is the kind of art that is founded on good drawing abilities.

Vernon Clarke is an exceptionally skilled draughtsman and this shows in his paintings. Ability to capture the likeness of a face or to handle proportions of various aspects of the figure, takes good eye-hand coordination, which is usually developed through training in drawing, often in the life room.

Vernon Clarke, through the years of art school training, at a time when drawing was valued, has taken the time and energy required to develop this skill.

As I walked into the exhibition, directly ahead of the entrance, I saw a portrait in charcoal, of none other than myself. I had heard that he was working on something, but I had not seen it.

He used a photograph as a reference, to make the drawing. Actually, sometime ago, I met the Mr. Clarke on the stairs in the Hamilton City Hall.

I happened to be standing by a window and in the course of conversation, he said he liked the way the light was coming through the window, so out came his camera and with a quick move, he snapped the photograph that is the basis of this drawing.

This is the only charcoal in the exhibition, but he knew of my interest in drawing. Whatever the case, it is simply entitled 'Charles'.

All but one of the other works in the show are oil paintings. The one exception is in wax-encaustic.

This is an ancient medium that has been notably durable. Indeed, Roman encaustics that have come down to us, are often well preserved with colours still bright and unfaded.

Clarke's encaustic is called 'Life On The Surface'. It is the most enigmatic painting in the show and I have not yet figured it out.

It appears as if there is a hole in a wall through which we see another world.

This is the only painting in the exhibition that is not figurative or a portrait.

One purpose of portraiture is to catch a likeness of the person being painted and this requires keen observation. The ability of Clarke to accomplish this is demonstrated in two paintings where I recognised the individuals depicted.

Based on that, I assume the others are also good likenesses.

At least they are convincing portrayals of the human head. Of the two portraits just mentioned, one is a self-portrait with a large brush loaded with orange paint. It is called, 'Finding the Light'. The other portrait is of 'Shine' Hayward and is simply called 'Shine'.

This exhibition is entitled "Face to Face". It continues through July 3.