The Windjammer 3 Gallery is currently exhibiting its third group show since opening in October.

Twenty artists participate in a show with a high level of professionalism.

There is a satisfying mix of mediums on display in this exhibit, including oil, watercolour, acrylic, pastel and gouache, as well as a range of technique.

For example, Diana Amos and Sheilagh Head add variety to the mark making within a couple of their paintings.

Combining the brush with measured use of the palette knife, they create physical texture to the paint surface that adds visual interest.

Head’s charming, small impressionist oil, Fort Hamilton, leads the viewer’s eye through the picture by alternating between light and shade and repeating the warm hues of the foreground in the sky beyond.

The snaking line of Amos’s oil, Upturned Punts, Pomander Road follows the shoreline boats towards a distant bay in a painting of elegant soft edges.

Elizabeth Mulderig uses Pointillism in her two Seurat-inspired oil paintings.

They have luminosity typical of the style that uses distinct individual dots of colour to mix optically as they pepper the canvas.

There is an intriguing hint of Bermudian architecture glimpsed in the background walled city of Shamrock’s Mooring.

Lee Petty exhibits three pleasing oils. Her delicate flourishes of brushwork in Hidden Gem describe an enigmatic sunlit Bermuda garden particularly well.

Distinctively patterned brushwork is an important element of Michelle Smith’s visual language. The strong diagonal lines of the field in Spring Planting, intersect with tremulous horizontals of the background to create a sense of movement.

April Branco’s eye-catching large-scale pastel, Outside Granny’s New Year’s Day, captures Gombeys waiting to perform and can be viewed in the side window of the gallery.

Grahame Rendell’s three works differ substantially in style. In fact, they represent a 180-degree turn for the artist. He exhibits a surrealist dreamscape together with a Picasso-like oil, Conjecture, with its flattened picture plane of single-toned blues, red, yellow and green. It may signal serious intent for a future direction even though the message is blurred by the inclusion of his figurative painting of a Bermuda cottage.

The Mediterranean is on Rhona Emmerson’s mind in her still-life oil, Sunflower Display. Christopher Grimes exhibits three effective miniatures including the fun oil, Chickie.

Katherine Zuill’s work is highly decorative and a richly patterned combination of abstract and figurative elements. Her mixed media piece, Happiness II, is a harmonious design incorporating intricate overlaid cut-out shapes.

The winged-like lateral petals give the flower in Christine Watlington’s finely drawn botanical fantasy Survival, the appearance of an exotic creature poised for flight.

The small but intimate space has been hung effectively due to the skilled eye of the gallery’s owner, Danjou Anderson. The great tradition of a commercial gallery on the island is alive and well.

•The reviewer also exhibits work in the show, which runs until April 22