Kaleidoscape: a gorgeous vision in Second Life

Kaleidoscape, July 2026 – click any image for full size
Escape to Kaleidoscape, a peaceful medieval countryside filled with flower fields, working farms, hidden gardens, rustic taverns, and scenic walking trails. Whether you’re looking for photography, quiet exploration, or simply a place to relax, every corner offers a new story waiting to be discovered.

– Kaleidoscape Destination Guide description

Occupying a Full private region leveraging the additional Land Capacity bonus available to such regions, Kaleidoscape is the work of region holder 3chi4 (3chi4 Ethereal). And it is, in a word stunning.

Kaleidoscape, July 2026

Presented – as the Destination Guide entry notes – a medieval countryside, the setting has some interesting modern quirks within it which, as anachronistic as they might be when it comes to medieval times, collectively sit within the setting in a manner that gives it a unique twist without actually intruding into it to the point of distraction.

The most obvious of these is the live event stage tucked away in the south-east corner of the region. However, there are others – such as the mail boxes sitting outside of some of the houses, or the house numbers fixed to the walls of others and the occasional glimpse of overhead power lines together with electrical lighting indoors and out.

Kaleidoscape, July 2026

The Landing Point for the setting sits within a skybox. This is somewhat detached from the setting in theme given it is an alleyway from a modern Japanese city. From here, visitor click on the whirlpool on the ground to proceed on to the setting itself.

An annoyance here is a greeter script has been set-up at both ends of the teleport from Landing Point to ground. This repeatedly spams a greeting and a landmark to the region very other second – and does so every time the ground-level arrival point is passed. Given the arrival point has an information board with worthwhile reading and a horse rezzer for those wishing to ride around the region, this can get irritating.

Kaleidoscape, July 2026

Outside of this, however, the region design is genuinely breath-taking – and while there is a recommendation to use the local EEP settings, I would personally suggest switching to something brighter, as the region settings – in my opinion at least – cast things in far too much shadow, hiding a lot of the beauty of the region. To this end, I took the liberty of using one of my personal EEP daytime settings for the photographs seen in this article.

One of the useful items on the information board mentioned above is a map of the entire setting, outlining the main points of interest. This is also interactive: click on the name of a location on the map and you’ll be teleported to it. This is handy for those wishing to get to the events area or back to a specific place when resuming a visit. However, for first-time visitors I strongly recommend exploring on foot – or at least via one of the horses available from the rezzing stall alongside the information board.

Kaleidoscape, July 2026

The local village is probably the most obvious place to start such explorations. It certainly presents a lot of detail as it steps its way up a shoulder of land bounded on two sides by water on two sides by the cliffs of the region’s uplands to the south and west. It has an eclectic mix of buildings, most of which have an almost Tudor look to them; whilst one had a French lean and another – the water mill – carries a hint of hobbits about it.

Of the two bodies of water bounding the village, one might have once been an enclosed lake; however, two channels now connect it to the waters which separate the region from its mountainous surrounds. The second body of water, meanwhile, takes the form of a channel running inland from the west, cutting a gorge through the highlands before it narrows almost to the width of a stream to finds its way into the would-be lake, therefore placing the village on a rugged island.

Kaleidoscape, July 2026
The village – indeed, the setting as a whole – is populated by static NPCs, all of whom are most definitely in medieval garb. Ehile I think such characters can add personality to a location, they aren’t to everyone’s taste. This being the case, these NPCs have a special power: touch any of them and they will vanish to “go on a wander” around the setting, reappearing in due course. It’s a nice touch for those wishing to take photos but don’t wish to have NPCs in their frame & who don’t want to derender them.

The north side of the setting is beautifully pastoral in design, with sloping fields (two of them forming a marvellous sea of blue blooms with the occasional red and black flickering of butterfly wings) shared by two farms, one to the north-west of the landscape and stepping its way up into the hills there, and the other on lower-lying lands to the east.

Kaleidoscape, July 2026
Sheep, horses and cattle are to be found in the meadows to the east, the lake-like waters within easy reach for them when needing a drink, whilst a fence running between meadows and flower fields prevents them wandering too far.

Throughout all of this are multiple routes of exploration. Cart tracks connect the farms and their windmills with the village, bridges span the water channels and trails wind up into the hills.

Kaleidoscape, July 2026

The latter are home to the setting’s wildlife, and it’s worth keeping an eye out for the deer, foxes, stoats and so on which all help to bring more life to Kaleidoscape, as do the birds and ambient sounds throughout.

The degree of detail throughout is impressive: the houses of the village are all furnished, as are the farms houses and cabins to be found, cats keep an eye on things and there are multiple and various places for visitors to sit and pass the time.

Kaleidoscape, July 2026
I could write a while lot more here but really, Kaleidoscape deserves to be seen first-hand, so I recommend you go see for yourselves!

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2026 SL viewer release summaries week #27

Logos representative only and should not be seen as an endorsement / preference / recommendation

Updates from the week through to Sunday, July 5th, 2026

This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:

  • It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy.
  • This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
  • By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
  • Outside of the Official viewer, and as a rule, alpha / beta / nightly or release candidate viewer builds are not included; although on occasions, exceptions might be made.

Official LL Viewers

  • Default viewer  – 26.2.0.25386466510, May 19 -“flat” UI and font update – No change.
  • Second Life Lua Editor Alpha viewer 6.1.0.23768336784, April 29 – No change.

LL Viewer Resources

Third-party Viewers

V7-style

  • No updates.

V1-style

  • Cool VL viewer Stable: 1.32.4.35; Experimental 1.32.5.5 July 4 – release notes.

Mobile / Other Clients

  • No updates.

Additional TPV Resources

Related Links

A summer’s DayDream Believer in Second Life

DayDream Believer, July 2026 – click any image for full size

In November 2021, I visited DayDream Believer, a region design by Janna Daydream (Janna Blackwood), and found it to be an setting ready for winter and elegantly eye-catching (see here for more). Since then, the setting has relocated to a new homestead region, and at the time of my latest visit offered more of a summer setting with the focus very much on daydreams and the freedom of the mind has for wandering as we sit within that state mid-way between sleep and being fully awake.

Welcome to Daydream Believer
the place between sleeping and waking up
the place that let you keep dreaming

– DayDream Believer About Land description

DayDream Believer, July 2026

The new design is a collaboration between Jenna and Trisha Devotion (Trisha Blinker), and takes the form of a group of five roughly-cut islands sitting within a ring of tall mountains under a sky lit by a westering Sun. The largest of these islands runs along the north side of the region and feature’s Janna’s pose store located at it’s eastern end. A water garden helps soften the bulk of the store building and blend it into the rest of the setting.

The Landing Point sits a little further along this northern island from the store and close to a tongue of water that licks its way inland. hills to either side of the Landing Point encourage visitors to set out southwards to where an arched wall tries to span the narrow passage between the hills, a clock neatly nestled into the arch over the gap to inform people of the time as they pass beneath it. However, a turn to the north before setting out along the path will reveal a ribbon of beach running westward, palm trees given it a slightly tropical feel.

DayDream Believer, July 2026

Thus, visitors have a number of routes of exploration – the store; the beach; the path through the clock arch or up over the hills. All have their own merits and offer things to see. Going south provides access to two of the remaining islands, for example. Both are much small than the main island and lie to the east and south of the region, daisy-chained to one another and the main island by bridges spanning the narrow channels of water separating them.

The first of these two smaller islands offers a quiet retreat focused around a gazebo-like pavilion sitting on the shoreline, bursts of colour provided by flowers breaking up the grass. A fountain and water feature on which to rest together with additional places to sit and pass the time, a wishing well and pair of white doves adding a sense of romantic. It’s an island which encourages sitting and relaxing, a dance system (one of several scattered across the islands) allowing couples to express themselves.

DayDream Believer, July 2026

The second island in the chain is hilly in nature. No human-made structures here; instead one of the setting’s caves awaits visitors. Perhaps a little bare as one walks through it, it nevertheless offers a sanctuary-like retreat in its depths, the entrance watched over by unicorns. For those who prefer to remain outdoors, the top of the hill into which the cave bores offers more seating and dancing.

Two more caves are to be found back on the large island, one seated atop the ridge of hills running west with the beach on one side and the waters splitting the region on the other. The other sits below it and forms more of a rock chamber carved into the hillside more than an actual cave. With comfortable chairs within it, it looks southwards towards the second largest of this group of islands.

DayDream Believer, July 2026

This is, for me, the most attractive of the islands. Sculpted into rounded hills climbing to the west, its focal point is a windmill with sails turning slowly and the land before it divided into a large working field shared by cereal and cows.  An open field of flowers splashes colour beyond the windmill, pointing the way to where a stone causeway bridges the waters separating this island from the smallest in the group.

The latter is a small crescent topped by a large and comfortably furnished deck and gazebo forming another retreat. The fact that this sits with its back  towards the rest of the setting and is partially hidden by the flank of the neighbour island’s hills gives it a nice sense of privacy and detachment.

DayDream Believer, July 2026

As the hills march away from the windmill and turn north, they broaden into a flat-topped plateau, home to a water garden with its own cosy feature in what might have once been a cavern, but which now lacks a roof and so stares up at the sky. Adjoining this is a meadow with more places to sit and a bridge reaching out to the western headland of the main island.

Overlooking the beach mentioned earlier, this headland is dominated by the ruins of a huge cylindrical temple with a distinctive Grecian style to it. Missing most of its domed roof and section of its walls, and with some of the columns which once supported the roof looking the worse for wear, it is nevertheless an attractive retreat, complete with furnishings.

DayDream Believer, July 2026

I would point out that the region is rated Adult and some of the seating does have adult-themed couples poses; there is therefore a risk of some visiting getting up to naughties. However, to avoid the region because of this would be a mistake; it offers a lot that is photogenic. Rezzing rights can be obtained by joining the local group, so I assume that the use of props for photos is allowed but – as ever – do please clean up behind you!

A charming region, easy to visit and explore, whether on foot or via a horse from the available rezzer or, if you feel like it, on the water via the Nessie boats (auto-rezzing what the current one is in use). Enjoy!

DayDream Believer, July 2026

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Space Sunday: Starliner, a rover and a rebuild

Starliner Calypso closes on the ISS for docking during the Crew Flight Test, June 6th, 2024. Credit: NASA

Following on from my previous piece on recent NASA Office of Inspector General (OIG) reports about NASA’s launch infrastructure and the costs associated with Artemis / SLS, Thursday June 30th, 2026 saw the release of the OIG’s latest audit of the NASA Commercial Crew Programme (CCP) which gave rise to the SpaceX Crew Dragon and Boeing Starliner vehicles.

As those with an interest in space exploration are aware, one of these vehicles – SpaceX Crew Dragon – has been providing a successful service in ferrying astronauts to and from the International Space Station (ISS), whilst the other – Starliner -, despite two uncrewed and one crewed flight test has, yet to enter service. Unsurprisingly, the OIG audit report does not pull any punches where the Boeing system is concerned. However, its target is not so much Boeing as it is NASA itself.

The report starts by noting that whilst both Crew Dragon and Starliner where technically challenging developments, NASA opted to focus primarily on the SpaceX project in terms of management oversight and intervention, despite the fact Crew Dragon was proceeding from a vehicle already in operation: the Cargo Dragon. Meanwhile, Boeing, despite designing a brand new vehicle from the ground up, was subject to far less NASA oversight and management.

A further complication with Starliner was identified as the use of the United Launch Alliance Atlas V; this effectively split vehicle development between two companies, where SpaceX were responsible for both Crew Dragon and the modifications required to its Falcon 9 launch vehicle. Credit: NASA OIG

Instead, NASA management opted to put their faith in Boeing’s “heritage” procedures and workflows, allowing the company to develop Starliner with minimal intervention. This resulted in programmatic and development issues escaping NASA’s attention where a more hand-on approach would likely have seen them spotted and measures put in place to rectify them long before they became issues deeply embedded in the vehicle’s design.

Nor is the report limited to the development path with Starliner; it is deeply critical of NASA management following the 2024 Crew Flight Test (CFT). This should have been an 8-day test of Starliner liner under crewed control, including time docked at the International Space Station (ISS). However, the vehicle suffered issues remarkably similar to those experienced during the second automated test flight, so it returned to Earth without its crew of Barry “Butch” Wilmore and Sunita “Suni” Williams, who remained on the ISS for a further 278 days before returning to Earth on a Crew Dragon vehicle.

Cutaway of Starliner showing major elements, including the “doghouse” thruster blocks which have been the cause of the vehicle’s major ills. Credit: Boeing via BBC

Under NASA’s own requirements, the CFT should have been classified a Type A mishap, prompting an immediate, NASA-led multi-disciplinary investigation into the flight and Starliner, with full root cause analysis, culminating in the development of a complete plan to remediate issues identified and bring Starliner back to operational readiness. Instead, NASA management labelled the flight a “partial success” and maintained their hands-off attitude to addressing Starliner’s issues.

It was not until Jared Isaacman took over at NASA that the CFT was reclassified a Type A mishap, meaning that for 21 months following the flight, Boeing management left to their own devices at a time when the company was known to be experiencing considerable managerial and programmatic issues across a range of its projects and programmes.

The irony here, as the report also notes, is that while this necessary reclassification has now occurred, more recent staff restructurings at both NASA and Boeing mean that neither organisation is in a position to properly drive the Starliner programme, with the result that the OIG casts doubt as to whether the craft will transition to an operational status ahead of the ISS being shut down in the latter half of 2030. As it stands, Starliner is supposed to complete four crew transfers to the ISS between 2026 and 2029, with perhaps only the 2028 and 2029 flights actually happening as planned.

Worse, the report notes that manage has under planned CCP requirements: even if the four Starliner mission do go ahead, they and the three SpaceX missions planned for the same period are insufficient to maintain a US presence on the ISS through until August 2028.  Therefore, NASA is likely to have no choice but to order further transfer flights, with SpaceX liable to be the recipient of the contracts.

In closing, the report notes that CCP was supposed to provide NASA with two crew-carrying vehicles capable of being operated cooperatively but somewhat competitively with one another, rolling contracts for missions being awarded on the basis of reliability and cost-effectiveness. This has not been the case; Starliner’s issues have meant that SpaceX has been the only game in town for crewed launches from US soil – as as such, they’ve had some degree of unilateral freedom to set the costs of flights sans competition. Meanwhile, and despite Boeing effectively having its original contrast reduce by US $500 million and covering much of the extra costs involved in trying to fix Starliner in the wake of the second uncrewed flight, the entire programme has become a shambolic mess.

NASA to Send Mars OPTIMISM to the Moon as a PROMISE?

On June 30th NASA hosted its second monthly Moon Base Update to provide information on Artemis and plans to establish a human presence at the Lunar South Pole. During the event it was confirmed that three private companies – Astrobotic, Firefly Aerospace and Intuitive Machines – have received further contracts under NASA’s Commercial Lunar Payload Services (CLPS) programme to deliver payload to the Moon in support of Artemis. However, the surprising aspect of the update was the announcement of plans to send a Mars rover to the Moon.

Formally called OPTIMISM (Operational Perseverance Twin for Integration of Mechanisms and Instruments Sent to Mars), the vehicle in question is a full-sized, almost fully-equipped version of the Curiosity and Perseverance rovers (just minus the radioisotope thermoelectric generators (RTGs) which power the latter), the vehicle has been an essential tool for both rover missions, allowing engineers to trouble-shoot software, electrical and mechanical issues the two rovers have experienced in their travels on Mars.

NASA’s OPTIMISM test vehicle (now PROMISE) show with its rear to the right. The two angled brackets are designed to hold a nuclear RTG “battery” and its protective casing / shielding on its operational siblings, Curiosity and Perseverance. Credit: NASA

Under the lunar plans, the vehicle is to be renamed PROMISE (Polar Rover for Observation, Mapping, and In-Situ Exploration –  someone at NASA gets to stay up very late dreaming up acronyms!), and would be delivered to the Moon where it could operate largely autonomously. If the vehicle could be readied and flown in time, it could act as a valuable survey scout and mobile lab, gathering data and carrying out experiments that could greatly help in characterising the Lunar South Polar Region ahead of human landings. However, there are some issues around the idea:

  • Loss of an engineering and software test-bed for the on-going Curiosity and Perseverance missions on Mars, potentially impacting their longevity should a significant issue with either develop in the future.
  • The rover will likely require the development of a suitable lander system for delivering to the Moon, assuming the “skycrane” approach cannot be modified for use in lunar deployments. This will take time – potentially years.
  • As a nuclear powered vehicle, it will require an RTG. These are no longer manufactured and in short supply. Use of one with PROMISE means denying its use on a deep-space mission.
  • The rover will face a far wider range of surface temperatures on the Moon than its systems were designed for when operating on Mars. This means it will require substantially more in the way of heating in order for delicate systems to withstand the cold lunar nights and, conversely, a cooling system so those same systems don’t overheat during the heat of the lunar daytime.

As such, there are considerable pros and cons to the idea, so exactly where this idea goes will be worth following.

Updates

Blue Origin Updates and Unveils

Blue Origin has provided an update on efforts to get Launch Complex 36 at Cape Canaveral Space Force Station back to an operational status following the catastrophic explosion of the NG-4 vehicle in May 2026 which wiped out the main launch pad and caused considerable surrounding damage, including to the vehicle and payload integration building, shown below.

The vehicle and payload integration building at lunch complex 36, Cape Canaveral Space Force Station, home of the New Glenn rocket. Note the blast damage to the large pad-facing roller doors. Credit: Blue Origin

As a part of this update, the company provided a video animation revealing how they plan to both equip the rebuilt launch facilities and prepare their New Glenn rockets – both the existing 7×2 vehicle and the in-development 9×4 (the numbers refer to the count of first and second stage engines on each version) – for launch.

Prior to the NG-4 static fire test explosion, Blue Origin utilised a 1,800 tonne Transporter Erector (TE) and a series of hydraulic actuators on the pad in order to get New Glenn to the pad and ready for launch. These were all completely destroyed in the May explosion. The TE would deliver the rocket to the pad horizontally, the actuators connected and then both rocket and TE would be raised to the vertical, the base of the TE becoming the rocket’s launch platform and the TE’s strongback its “launch tower”.

Under the new plans, a New Glenn will be moved to the launch pad by a simplified transporter and without the payload attached. A mobile crane will then raise it the the vertical and lift it onto a new permanent launch platform on the pad, with a new tower supporting the rocket through until launch.

The latter will actually be the lightning conducting tower which survived the NG-4 explosion, completely repurposed and expanded to fulfil the role of launch tower. It will include two halves of a rotating service platform designed to fit around the upper part of the rocket, allowing the payload within its fairings to be lifted into position by crane, with the necessary connections between it and the rocket then being made.

The overall plan is daring in scope and still ambitious, given that Blue Origin is sticking to their bullish view New Glenn will return to flight before the end of 2026.

This week also saw Blue Origin unveil their planned lunar Power Tower system for use on the Moon.

Whilst the preferred means of powering a lunar base is nuclear, there are some significant challenges to overcome to make this a reality. In the interim, solar power remains an option – at least to a limited degree, given nights on the Moon last 14 terrestrial days making any sole reliance on solar impossible. However, even when the Sun is above the horizon, it remains at a relative low angle in the sky, and this can limit the ability of ground-based solar arrays in gathering sunlight, as they can easily end up stuck in shadows for long periods of the lunar day.

The Blue Origin Power Tower, which can be delivered to the Moon on specialised Blue Moon MK1 landers – offers a possible means of continuous solar power during the lunar day by suspending “sails” of solar arrays from a 20+ metre tall deployable boom system, thus lifting them clear of areas of shadows, etc.

Exactly how effective such a system might be is open to debate, but the system could potentially help power smaller outposts and stations during lunar daylight hours and which are both beyond the reach of having power routed to them from nuclear reactors and do not need to be in constant use.

Swift Rescue Mission Launches

Following my previous Space Sunday report, the mission to rescue NASA’s Neil Gehrels Swift Observatory finally launched on Friday, July 3rd after weather and a software issue conspired to delay the mission for three days.

The launch was flown out of the Ronald Reagan Space and Missile Test Range located on the Marshall Islands in the South Pacific, the Pegasus XL rocket – the last one scheduled to be used – carried to an altitude of 12,000 metres by As I noted last time, the mission was air launched utilising a Pegasus XL rocket (the last mission the rocket will actually fly) carried aloft by Northrop Grumman’s modified Lockheed L-1011 aircraft Stargazer. At 08:36 UTC on July 3rd, the aircraft passed through the designated drop zone for the mission and the Pegasus XL was released, allowing it to fall safely clear of Stargazer before its rocket engine ignited sending it into low Earth orbit in just under 10 minutes.

A set of an artist’s renderings of LINK in space and rendezvousing with Neil Gehrels Swift Observatory, ready to gently push it up to a safe operating altitude before atmospheric drag causes it to re-enter the atmosphere and burn up. Credit: Katalyst Space

Following deployment from Pegasus, the 4.9 metre long LINK deployed its solar arrays for power and is currently going through an initial systems check-out. Once this has been completed, the craft will fire its ion thrusters to gradually close on the Swift observatory. Once within range, LINK enter a 2-3 week observation of Swift, flying around it so that engineers can confirm the best point for LINK to attach itself itself to the observatory to commence the operation to raise Swift’s orbit and save it from burning-up in the upper atmosphere.

The lifting manoeuvre will last several months, boosting Swift from its present 300 km altitude to around 600 km, adding at least another 5 years to Swift’s mission in the process. Not bad for a mission that cost US $250 million and was supposed to last just 2 years when it commenced 22 years ago, and a rescue mission which has cost just US $30 million and was put together in just nine months.  

More coffee and photos in Second Life

The Boathouse Café, July 2026 – click any image for full size

I’ve always enjoyed Sorcha Tyles’ region and parcel builds over the years, so back in June I was happy to drop into her latest (at the time of writing) endeavour: The Boathouse Café as I resumed my occasional visits to various cafes and coffee houses in Second Life.

Occupying a waterfront parcel (hence the name) just over 3,000 square metres in size, The Boathouse is presented by Sorcha under her Dutch Pavilion banner and offers a setting which, unsurprisingly and very cosily has much in common with other designs under that banner and which I’ve covered in these pages (notably Wild Silence, which I visited in late 2025 and June 2025’s iteration of Dutch Pavilion itself) – although leaning perhaps a little more into a Nordic theme in keeping with elements of the estate within which it resides.

The Boathouse Café, July 2026
A rustic Nordic hangout by the sea. Grab fresh fish & chips on the shipyard side, or escape into the wild, wind-swept garden with a cosy coffee. Unwind to the sounds of gulls and waves.

– The Boathouse About Land description

The café itself takes the form of a converted smokehouse with some limited moorings available – the surrounding rocks tend to dissuade attempts to come alongside at least at low tide, as does what’s left of one boat which apparently tried! Most of the high-set wharf is therefore given to outdoor setting to the front of the café, with fish & chips being offered outside as a treat.

The Boathouse Café, July 2026

Inside, the café has something of that Boho, informal look where whatever might have been available / obtained from local markets has been used for furnishings. This results in chairs and tables with a decidedly vintage 1970s or 1980s style to them mixing with more modern bar-style high chairs, together with a rustic-style food and beverage kitchen / counter space. Eclectic it might be, but it is also very relaxed and cosy.

To the rear of the building is a garden space which very much offers memories of Wild Silence, etc., in its informality and wildling growths of grass and plants.

The Boathouse Café, July 2026

The deck here has, admittedly, seen better days and could result in some stern words from a passing health and safety executive, but this doesn’t detract from the pies and other scoffables available nor does it prevent the cafe’s cats and dogs appreciating it as a place to catch some Sun.

A gravel path runs around the garden from the wharf and back, presenting the opportunity to walk off any extra weight that might have been felt to have been gained whilst eating, together with some swings for adults or kids to enjoy. There are numerous places to sit throughout the garden, including one on the water and another over it in the form of another deck.

The Boathouse Café, July 2026

A jet ski also sits on the water by the garden, but fortunately, it is not open to general use so it won’t end up causing interruptions for those trying to relax as it is buzzed around the island.

Those with a romantic inclination or who simply enjoy dancing can avail themselves of a dance system tucked into a corner – although the best place to dance is possible in the garden rather than around where the system has been placed J .  If fishing is more your style, that is also available!

The Boathouse Café, July 2026

In all, a delightful and easy-going visit; however, one point of note: do not remain in one place for too long, as you might be teleported home if you don’t reply to a pop-up dialogue requesting you confirm you are still at your keyboard.

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Mile Cantelou: Concrete Shadows in Second Life

ArtCare Gallery: Mlies Cantelou – Concrete Shadows
Concrete Shadows is an exploration of urban life captured through the interplay of light and shadow in contemporary artwork. This city life exhibition illustrates how the silhouettes of people merge with their surroundings, creating a dialogue between the individual and the urban landscape. 

– Miles Cantelou

Thus reads the artist’s introduction of a series of acrylic canvases adapted for upload to Second Life for the exhibition Concrete Shadows, which opened in mid-June at ArtCare Gallery, curated by Carelyna.

ArtCare Gallery: Mlies Cantelou – Concrete Shadows

Those familiar with Miles’ work will know that his range encompasses street and studio photography, painting in acrylics and oils, working within 3D environments and more. Utilising genres from abstract through surrealism to abstracted expressionism, his art is a constant study of light and light forms often with a strong lean into using light and light forms. Much of his work is colour-rich and boldly stated. Here, however, and as his introduction notes, he large eschews colour (although some is present in places to give an added subtle context to the urban environments featured) in favour of a more monochromatic look.

Comprising 20 individual pieces, Concrete Shadows could be a record captured from within a city anywhere in the world. But precisely where their inspiration comes from doesn’t actually matter;  what does is the manner in which they resonate with us as we view them and their the subtext of line, shape, shadow and block serve to suggest; so that in some it is possible to perceive the bustling and disorderly order of somewhere like Tokyo or Shanghai whilst others might suggest a kinship with London, Paris or New York – or wherever your imagination takes you.

ArtCare Gallery: Mlies Cantelou – Concrete Shadows

All of them offer narratives of life, be this used as a collective nouns for the bustle of people passing along busy streets, cojoined by matters of business, tourism, need – whatever; or be it a reflection of the individual caught in a moment of introspection, transition or perhaps loneliness within the midst of that bustle. More broadly, they tell a story about the places we have created in which we go about our business and lives; the ebb and flow of the relationship between conurbation and self. Cities are places we have built out of our own necessity; yet at the same time we are mere elements of their necessity, serving their growth, their wealth, their power. They cannot exists without us and nor can we, as a society, function without them; the one gives purpose to the other.

Is there balance in this? Perhaps; perhaps not – but there is a blurring. Our relationships with the cities in which we live is one of adversarial symbiosis; it constantly shifts and changes as we move through the concrete and steel canyons or pause for breath in the small haven of green park spaces. We move as one, currents and eddies of humanity coursing through streets and avenues, flowing into and from buildings, an underscoring of our need for them – and their reliance upon us. At the same time we seek to remain individuals, operating within and yet apart from the rush of City Life and all it brings.

ArtCare Gallery: Mlies Cantelou – Concrete Shadows

An intriguing and engaging exhibition.

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