Bermology: Kyle Simmons Review

November 4 - 17, 2025

Bermuda Society of Arts

Dr. Edwin M. E. Smith

In a sense, Kyle Simmons follows in the footsteps of artists throughout history by adopting new materials to push creative boundaries. He also upholds the Bermudian tradition of focusing on island life. However, rather than depicting only beautiful landscapes, he shifts his focus to people and explores immediate social realities.

In this, his first solo art exhibition, Bermology, Simmons uses digital art to celebrate relationships and a love for Bermuda. The acquaintances, friends, relatives, peers across generations—are people Simmons knows or observes, making his representations especially authentic.

The exhibition begins with Sittin’ Off, a digital photo setting the scene with its glorious skies and iconic architecture. Through a gate across the road, viewers witness two boys in casual conversation, enjoying their bikes and each other’s company on a beautiful day. The image, the only one that is not a digital painting, feels timeless and relatable to Bermudians of all ages.

The collection documents a cross-section of cultural activities, from religious rituals to crown-and-anchor tables, political parties, and dancehall drama. Baptisms take place, and marbles are played. Booze is largely present, and spliffs are shared. Simmons observes interests and indulgences honestly and without judgment. True to the title, Bermology, Simmons aims to analyze and understand his home—“a culture in the middle of nowhere.”

Centrally placed opposite Sittin’ Off is GetThisManAShot3. In this larger work, a young man, clearly in party mood, introduces his friend while radiating brotherly love. The candid composition, with symbols of youthful fun—gaming icons, money, and a bold red-orange background—evokes social media snapshots and reflects courage and zest for life. A similar tone appears in Heart to Heart, showing two young men sharing a smoke under the stars.

Good Night Auntie & A Melody of Treefrogs stands out for its poetic title and humorous reference to a relatable, long family conversation at the back door. The composition is simple and full, capturing everyday life in all its ordinary richness.

In a smaller work, We Applaud, Simmons offers critique with the phrase: “We applaud when the captive dons their chains and calls them jewelry. We do not blink, we applaud.” Set among icons of Bermuda’s social trappings, this warns how society commends acceptance of struggle instead of challenging it, often mistaking endurance for beauty or strength.

Digital art is not new, but a local solo exhibition of digital painting is. Simmons’s digital technique—combining elements in a collage technique, sharp details, vibrant colors, and intentional pixelation, as seen in DLC Black and Raw—makes his social commentary fresh but softened. His palette is as lively as Gherdai Hassell’s in works like Glitter in their Veins and Sleeves Filled with Pearls (also of friends and relatives), adding a celebratory tone. The exhibition is meant to be a celebration, but what exactly is being celebrated? The answer: each other, and the threads that bind the community.

The exhibition invites reflection. We must recognize our vices, acknowledge ongoing struggles, and, like the resilient figures in Bill Ming’s Family Circle, look out for one another. While Bermuda may seem isolated, Simmons reveals its universal themes—belonging, joy, and mutual support.

Ultimately, Bermology is a celebration of culture, relationships, and the systems that sustain them. Simmons encourages honest self-reflection and invites the audience to assess these observations for themselves. Love is here. Love persists.

Good Night Auntie & A Melody of Treefrogs