2026 SL viewer release summaries week #14

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

Updates from the week through to Sunday, April 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  – Legacy search; WebRTC improvements; QoL improvements – 26.1.0.22641522367 – March 12 – no change.
  • Release Candidate viewer – one-click installer = 26.1.1.23806384790 – March 31 – NEW.
  • Second Life Project Viewers:

LL Viewer Resources

Third-party Viewers

V7-style

  • Kirstens Viewer S24 VETR V2 Build 3075 – April 5 – release notes.

V1-style

Mobile / Other Clients

  • No updates.

Additional TPV Resources

Related Links

Space Sunday: Artemis 2: from launch to TLI

Ignition of the four RS-25 engines on the Artemis 2 SLS, several seconds before the ignition of the two Solid Rocket Boosters (SRBs) seen either side of the SLS core stage, take from a protected camera in the base of the Mobile Launch Platform. Credit: NASA

On Wednesday April 1st, 2026, NASA’s Artemis 2 mission launched on a 10-day cruise to the Moon and back (with time initially spent in Earth orbit), carrying a crew of four to test the capabilities and facilities of the Orion Multi-Purpose Crew Vehicle (MPCV) when used for human spaceflight.

The mission marks a number of firsts for NASA, all critical to future Artemis missions, including:

  • The first launch of a Space Launch system (SLS) rocket with a crew aboard.
  • The first launch of the Orion spacecraft – this one christened Integrity by its crew – with people aboard.
  • The first time an Orion spacecraft has flown under manual control.
  • The first time an Orion vehicle will attempt a re-entry into Earth’s atmosphere carrying a crew aboard.
  • The first time humans have surpassed 400,000 kilometres from Earth.
  • The first time a vehicle intended for use in the vicinity of the Moon has carried an actual toilet on board.
  • The first time a non-US citizen has travelled to the Moon.

The four crew in question are Mission Commander Reid Wiseman, Mission Pilot Victor Glover, Mission specialist Christina Koch (pronounced “Cook”), all from NASA, and Mission Specialist Jeremy Hansen of the Canadian Space Agency. If you’re interested in potted histories of the crew’s backgrounds, then please refer to my previous Space Sunday article.

The four crew of Artemis 2 department the Armstrong Building at Kennedy Space Centre, Florida. (l to r): MS Jeremy Hansen; Pilot Victor Glover; Commander Reid Wiseman; MS Christina Koch. Credit: NASA

Launch

Lift-off came at 22:35 UTC, some 11 minutes later than the target launch time after a couple of minor issues on the SLS vehicle had to be investigated and resolved. One of these related to one of the two battery systems powering the Flight Termination System. The latter is used to destruct the rocket once the crew have been pulled clear by the Launch Abort System (LAS), should a serious issue result in the rocket veering substantially off-course. This particular problem was identified as a sensor failure rather than any fault with the battery itself.

The power of the SLS was immediately apparent following launch – at just thirty seconds into the flight, the launch system has completed its roll to pitch over to the correct ascent angle and was punching through 4.8 kilometres altitude as a speed in excess of 1,920 km/h.  From there:

In just 30 seconds after launch, Artemis 2 was almost 5 kilometres above the Earth and accelerating rapidly. Credit: NASA
  • At T+1 minute the vehicle passed through ”Max Q”, the period when the rocket encounters the peak atmospheric dynamic stresses as it continues to accelerate through the denser portion of the atmosphere, the four RS-25 motors of the core stage throttling back to reduce the load on the rocket.
  • At T+ 90 seconds, with Max Q passed and the RS-25 motors running at 100% thrust, the SLS went supersonic and passing through 22.4 km altitude.
  • At T+2 minutes, with the RS-25 motors had again throttled to 85% thrust, and the two massive solid rocket boosters, their fuel expended, separated to continue on their own ballistic trajectory, eventually falling into the Atlantic Ocean.
  • By 3 minutes into the ascent, Artemis 2 was at 78.4 km altitude, and closing on the 80 km Kármán line, the conventional definition of “the edge of space”. Travelling at some 8,000 km/h, the rocket jettisoned the two fairings that had protected Integrity’s European Service Module (ESM).
  • This was followed almost immediately by the unlocking of the couplings between the LAS at the top of the rocket, and the Orion capsule. The motors on the LAS fired, pulling it clear of the SLS, exposing the Orion capsule to space.
Captured via a film camera mounted on one of NASA observation aircraft, this still shows the SLS rocket of Artemis 2 with its main engines running at full power, together with the separated Solid Rocket Boosters, ESM protective Fairings and the LAS tower, as they part company from the rocket to commence their destructive falls into the Atlantic Ocean. Credit: NASA – Click for full size
  • MECO – main engine cut-off – occurred at 8 minutes 2 seconds after lift-off, with Integrity and the Interim Cryogenic Propulsion Stage (ICPS) continuing to ascend, the reaction control systems (RCS) on the ICPS sufficient to pull it and Integrity clear of the SLS core stage, which, like the SRBs, continued on its own ballistic trajectory, prior to starting a long fall back to Earth, breaking up in the process and falling into the Atlantic Ocean.

At this point, Integrity was travelling at 27,200 km/h – slightly above the speed required to achieve Earth orbit and on a trajectory intended to put it into an elliptical orbit around Earth with a perigee (closest point to Earth) of around 200 km. At this point, operations switched from launch to initial mission activities.

A rear-facing camera on the Orion capsule capture another view of the ESM fairings being separated (centre bottom and (just visible) centre top). Credit: NASA

The latter comprised two major elements: inside the Orion capsule, Christina Koch and Jeremy Hansen left their seats to set-up critical equipment and services. These included unstowing the fire-fighting equipment and mounting it on its assigned racks and then doing the same with the drinking water dispenser, toilet (which had its first malfunction, requiring Koch and Hansen to carry out a fix (the Toilet would again have issues on Flight Day 4, with the crew reporting it was depositing unpleasant odours in the main capsule) and other crew-related equipment. At the same time, Wiseman and Glover remained in their seats and ran through the protocols and check sheets for deploying the ESM’s solar arrays – vital for supplying Integrity with electrical power.

The solar arrays were deployed some 25 minutes after launch, and powered-up to start producing electrical power. At 50 minutes after lift-off, Hansen and Koch were back in their seats, the solar arrays were producing power and the go was given for two orbit-changing manoeuvres.

One of Integrity’s four deployed solar arrays with Earth as a backdrop, as seen from a camera mounted on one of the other solar arrays. Credit: NASA

The first was a short burst of the ICPS RL-10 engine, raising the perigee of Integrity’s orbit whilst maintaining its elliptical form. This was followed by a second 15-minute burn of the RL-10, extending Integrity’s perigee and apogee (the latter to some 70,000 km from Earth, placing the vehicle in a high Earth orbit.

This second RL-10 burn expended almost all remaining fuel in the ICPS, accelerating Integrity almost to the velocity required to complete a trans-lunar injection (TLI) manoeuvre. However, this is not what happened. Instead, with the ICPS separated and orbiting Earth independently of Integrity, Glover and Wiseman commenced what NASA normally refers to as an RPOD simulation, but which for Artemis 2 was simply called “proximity operations”.

RPOD Simulations / Proximity Operations

RPOD – Rendezvous, Proximity Operations and Docking – is a core part of modern day space operations with NASA, being fundamental to crews and supplies being able to launch to and reach the International Space Station (ISS) and then dock safety with it either under automated or manual control.

For the Artemis programme, being able to carry out a successful RPOD is vital to all the lunar surface missions, as they must be able to rendezvous and temporarily dock with the Moon- orbiting Human Landing System (HLS) vehicle which will actually deliver nominated crew members to the surface of the Moon, and then re-dock with the HLS vehicle to allow the surface mission crew return to their Orion craft for a return to Earth.

A conceptual rendering of Integrity performing a simulated RPOD with its ICPS as part of the proximity operations. Thee “docking target” can be seen within the open end of the ESM adaptor fairing. Credit: ESA

To this end, the ICPS had been equipped with a rendezvous and docking target, allowing Wiseman and Glover to test out the docking heads-up display whilst also using Integrity’s RCS thrusters to make simulated rendezvous approaches to the ICPS, aborting before the two vehicles actually made contact. In addition, Wiseman and Glover used manual control of the Orion to test proximity manoeuvring and close formation flying around the ICPS – both the POD and proximity operations marking the first time Orion had ever been manually flown. Both astronauts praised the vehicle’s handling qualities prior to returning the craft to its autopilot.

With Integrity well clear of the ICPS, the latter deployed two CubeSats then fired its RL-10 for a final time, placing it on a destructive re-entry into the upper atmosphere. At this point the crew moved to the next phases of initial operations.

Initial Mission Highlights

First, the Orion’s “gymnasium” – a flywheel device capable of allowing multiple exercises – was set-up and crew members took it in turns exercising, putting Integrity’s life support system through something of a stress test. After this, the crew set-up the food reheater and had dinner together from their rather impressive menu of meal choices. A 4-hour sleep period was then taken, allowing the crew some much needed rest.

Artemis 2 is providing unprecedented coverage, with 2/7 livestreams from the vehicle, frequent mission updates and interviews with the crew – such as this one from Saturday, April 4th, 2026. Form l to r: Reid Wiseman, Jeremy Hansen, Christina Koch and Victor Glover. Credit: NASA / AP

The sleep period was short as a further orbital manoeuvre was required to again raise Integrity’s perigee away from Earth and place it on a trajectory suitable for a TLI burn. With this complete, the crew settled back for another 4-hour sleep period whilst NASA mission control reviewed the overall performance of Orion and its systems to determine if Integrity was good to go for a free-return flight for the Moon.

Authorisation was given for TLI on flight day 2 after the crew had risen and eaten. The manoeuvre comprised a burn of the ESM’s AJ10 main engine of just under 6 minutes, using some 450 kg of hypergolic propellants. It pushed Integrity out of Earth’s orbit and on its way to pass around the Moon. This free return trajectory meant the vehicle would not need to use its AJ10 engine as it passed around the Moon in order to head back to Earth – gravity would do the work for the mission. However, the ESM’s propulsion systems would be required for various mid-course correction manoeuvres.

Captured through a window of the Orion capsule shortly after IPCS separation and with Integrity in a high Earth orbit (HEO), it images shows the night side of Earth, brightly illuminated by sunlight reflected by the Moon. The Sun is on the far side of Earth relative to Integrity, its light causing parts of the atmosphere to glow aurora-like. Credit: Reid Wiseman / NASA

The first of these course corrections was due on Flight Day 3. However, such was the accuracy of the SLS’s performance coupled with that of Integrity itself, this manoeuvre was discarded – the vehicle was precisely on the course it needed. On Flight Day 4 Hansen (a Canadian fighter pilot) and Koch (a jet-qualified civilian pilot) took the controls of Orion and put the vehicle through a further series of RCS tests, evaluating its ability to complete both 3- and 6-degrees of freedom of movement manoeuvres (that is, rolling, pitching and yawing around various axes without altering its general trajectory). Both Koch and Hansen reported the vehicle presented excellent and stable  handling.

Currently, the crew is due to pass around the Moon on Monday, April 6th. 2026 as they do so, they will reach a distance of approximately 406,773 kilometres from Earth, beating the previous record for the furthest humans have travelled from Earth to date – set by the abortive Apollo 13 mission in 1970 – by some 6,000 km. At this point, Integrity will be some 7,600 km beyond the surface of the Moon’s far side as it starts its journey home. The closest Artemis 2 will come to the surface of the Moon is approximately 6,513 km.

Taken on Saturday, April 4th, 2026 through a window on Integrity, this image captures the Moon’s nearside from a distance of around 180,000 km. Credit: NASA (astronaut response for image unnamed).

During the intervening period, the crew continue to test Integrity’s systems and capabilities and carry out a range of experiments, notably related to crew health and welfare. As a part of this work, Integrity carries two key experiments: AVATAR – A Virtual Astronaut Tissue Analogue Response, and an experiment system called ARCHeR (Artemis Research for Crew Health & Readiness (if there is one thing you definitely can say about NASA is that they work very hard at their acronyms!)

AVATAR can mimic individual astronaut organs, allowing medical experts evaluate tissue and other responses to various aspects of spaceflight and monitor essential biomarkers. AVATAR has been flown aboard the ISS several times, but this mission marks its first deep space mission – one that carries it and the Artemis 2 crew through the Van Allen radiation belts – thus offering the opportunity to gain further insight into the potential impact of these highly radioactive zones as Integrity zooms through them at several thousand km/h.

 ARCHeR (which I cannot help think was named by an NASA fan of Star Trek (see Jonathan Archer (Scott Bakula), first commander of the Star Ship Enterprise, NX01) uses movement and sleep monitors worn by the crew to gather real-time health and behavioural information for crew members so scientists can study sleep patterns and overall health performance.

Further, Artemis 2 is testing and demonstrating the Orion Artemis II Optical Communications System (O2O). This is an optical communications system uses laser beams for two-way communications between Earth and the mission. Smaller and lighter than a conventional radio system, O2O also uses less power and increases transmission rates (up to 200 Mbits per second). If successful, O2O could become a feature of future Artemis missions from Artemis 4 onwards and used in potential human missions to Mars.

I’ll have more on Artemis 2 next week. In the meantime, you can follow the mission in real-time, via NASA’s 24/7 livestream.

Cica’s Happy Planet in Second Life

Cica Ghost, April 2026: Happy Planet

April 2026 is the month of Artemis 2 (well, at least the first ten days are!), which will see a crew of four pass around the Moon before returning to Earth In the process the crew will set a new record for the furthest any humans have travelled beyond Earth thus far – some 406,773 kilometres, just breaking the record of 397,848 kilometres set by Apollo 13 during its aborted mission to the Moon in April 1970,

As such, it is thoroughly appropriate that whether by accident or design, Cica Ghost is using April to take us on a trip into space and to her Happy Planet.

Cica Ghost, April 2026: Happy Planet

Set against the backdrop of night, from which a large Moon (or possibly a planetary twin) literally watches over everything via the circular (and eye-like) blue sea covering a far portion of its otherwise dull browny nearside, this is a place of fantastical wonder, backed by a truth from US cartoonist Lynda Barry:

We don’t create a fantasy world to escape reality. We create it to be able to stay.

In other words fantasy and our use of it is more about presenting us with opportunities to pause and renew our strengths and abilities in the face of a reality which can oftentimes be harsh or unpredictable – or both – in its daily nature, rather than being a simply a crutch for helping us cope – as the unimaginative in nature have often claimed.

Cica Ghost, April 2026: Happy Planet

And fantasy can be both wonderfully creative and fun – as Happy Planet, with its strange but in some cases familiar creatures and inhabitants. From cats with antennae to almost slug-like beings oddly mindful of Gru’s Minions, occupying the rocky landscape and possibly living in the rock formations which appear to have holes cut into them to form interior spaces complete with windows and chimneys, this is clearly a place born of a creative and fantasy-oriented mind, rich in strange flora.

Some of these semi-sluggy (if you will) locals are not confined to the ground, but zip around overhead in personal flying saucers, deftly missing asteroids which –  to unabashedly steal from Douglas Adams – hang in the air exactly the same way as bricks don’t. And you can join the flying locals; located in the setting is a free flying saucer giver. Simply claim one, add it from inventory and take flight.

Cica Ghost, April 2026: Happy Planet

For those who prefer the alien equivalent of terra firma, there are plenty of opportunities for ground (or slightly elevate, thanks to re various raised paths) exploration, which will also reveal interactive dance spots scattered around the setting. I didn’t find any sit points while mousing over things, but I may have missed them. Either way, there is no mistaking Happy Planet is a happy place to be.

SLurl Details

 

2026 week #14: SL Open Source (TPVD) meeting summary

Hippotropolis Theatre: home of the OSD/TPVD meeting
The following notes were taken from:

  • My chat log of the Open-Source Developer (OSD) meeting held on Friday, April 3rd, 2026, together with my chat log of that meeting.
  • Pantera’s video of the meeting (embedded at the end of this article) – my thanks to her for providing it.
  • Please note that this is not a full No video this week, as Pantera was absent the meeting.
Table of Contents

Meeting Purpose

  • The OSD meeting is a combining of the former Third Party Viewer Developer meeting and the Open Source Development meeting. It is open discussion of Second Life development, including but not limited to open source contributions, third-party viewer development and policy, and current open source programs.
    • This meeting is generally held twice a month on a Friday, at 13:00 SLT at the Hippotropolis Theatre and is generally text chat only.
  • Dates and times of meetings are recorded in the SL Public Calendar.

Official Viewer Status

  • Default viewer  – Legacy search; WebRTC improvements; QoL improvements – 26.1.0.22641522367 – March 12.
  • Release Candidate viewer – one-click installer = 26.1.1.23806384790 – March 31 – NEW.
  • Second Life Project Viewers:

Viewer 2026.01.01 – One-Click Installer / Velopack

  • Now available as a RC viewer – see above.
  • This could be promoted as early as week #15, depending on how it performs (crash rates, etc.), over the next few days..

Other Viewers

  • 2026.02 – “Flat” UI and Splash Screen Refresh – this is due to have an Alpha update issued on April 3rd.
  • The Lua Alpha viewer is also due to have an update issued on April 3rd.
    • Note, LL are now officially dropping “SLua” (“SL Lua”) and just going with “Lua”.
Example of the upcoming flat UI. Via: Geenz Linden / Github #4681/2
  • The viewer formerly known as the Second Life Visual Polish viewer (SLVP) is now known as the Second Life  Second Life Graphics Care Package.
    • The hope is to get that into alpha soon – but only after we get the necessary server work done and get some regions up on ADITI.

WebRTC Deployment

  • The WebRTC deployment has hit a “hiccup”.
  • As a result the deployment has slowed, with WebRTC liable to remain only on the RC server channels (Le Tigre, BlueSteel, Magnum, etc.) and covering about14% of the Main grid until the problem is resolved.
  • Anyone experiencing Voice issues with WebRTC is asked to file a bug report.

General Discussion

  • There is an increasing issue of AI driven pull requests.
    • This appears to be a case of people trying to make claims via the bounty programme for code submissions without actually putting any effort into the work.
    • Commenting on the matter, Geenz Linden noted:
If you’re using LLMs to submit pull requests, that’s not an automatic no. However, blatantly vibe coded submissions, submissions that are effectively taking stuff from other viewers without any kind of attribution or permission and so on, and anything that just generally reads as super low effort just to claim a bounty is likely to be closed without comment in a worst case, or otherwise scrutinized in order to ascertain the individual’s understanding of what that code actually does vs. how much is just prompting to see if they can land something. We don’t want to shut down utilizing AI in people’s processes, but certain things are gonna get PRs shut down or scrutinized more heavily. So please keep this in mind.
    • This called into question the value of the bounty programme, with the fair point being made that TPV developers have spent years developing code for their viewers and submitting much of it to LL without any thought of reward other than improving people’s SL experience.
    • Geenz further noted the the bounty programme is due to get reviewed “sooner [rather]than later”, although it is likely “some form” of it will be kept, as it has also led to useful code contributions – such as those for getting the Linux viewer back into the frame (due to surface with the Lua viewer) and the viewer vcpkg work.
    • The suggestion was made that a contract programme – whereby an external coder is contracted to produce work – might be more beneficial than the current bounty programme. Again, this was pretty much the case for Linux and vcpkg.
    • A further suggestion was made to offer general bug / feature request bounties in L$ only – potentially making them less attractive to those trying to bend the system and earn US $ using AI LLMs.
  • The question was asked if Leviathan Linden’s work on server-viewer messaging would be surfacing in one (or an) Alpha viewer soon – the reply was that discussions on where and when to place this work are still ongoing, in order to ensure the viewer work and server work appear pretty much together.
  • Suzanna’s excellent write-up on the latest Lua release gained a further shout-out. On this (again):
    • This release will be deployed to Aditi (the Beta grid) first for testing.
    • It requires all Lua scripts to be recompiled in order to keep working.
  • Tis last 10 minutes of the meeting was spent discussion whether “SLua” should be retained as the name for the Lua project, or if “Lua” was better (certainly more widely recognised) given it is an implementation of Luau.

Next Meeting

Cherishville’s Spring for 2026 in Second Life

Cherishville Spring 2026 – click any images for full size

Spring has come to Lam Erin’s Cherishville for 2026, and with it the region has evolved into a new setting for visitors to enjoy.

With this iteration of the region we are offered a truly pastoral location; a place of farming, outbuildings, a meandering stream, gently rolling hills crowned by trees and flowers, and a scattering of animals together with little touches of humour for those with a keen eye..

Cherishville Spring 2026

The Landing Point sits to the north-west of the region, in the lee of an aged, bent-backed tree. This tree appears to suggest that strong winds can at times visit themselves across the island, although the upright poise of the other trees across the setting appear to say otherwise, and suggest the curved nature of this tree’s back is perhaps due to some other factor.

Sitting on a stubby headland, the Landing Point looks both east and south over the region, the eastern view encompassing the tall form of what might be taken to be a lighthouse on the far horizon when first seen, but which is in fact a clock tower, its belfry sitting in place of any lamp room.  Between these stubby headlands is a sweep of beach which is separated from the clock tower by the mouth of the region’s stream.

Cherishville Spring 2026

Southwards, the landing point overlooks a rutted track leading inland, a small stretch of shingle shoreline and a further trail passing some old vehicles on its way south. This rutted track forms a junction with the one leading inland from the Landing Point whilst also pointing east, where it becomes sandwiched between the beach and a pair of Tuscany-style outhouses, one of which has been turned into a patisserie and the other a residence-come-coffeehouse.

With outside seating, a large rectangular pond that has become the home of water lilies and swans and a separate fountain, the coffeehouse makes for a pleasant place to stop, itself sitting between track and the sharp curve of the stream behind it which leave it and the patisserie effectively sitting on a finger of land.  The patisserie offers more limited seating, but is still a pleasant visit and also holds an element of the humour I alluded to earlier.

Cherishville Spring 2026

To the south of the setting and sitting on a hill is a large farmhouse, in the grounds of which chickens squawk and cluck among the flowers – fortunately leaving the vegetable garden at the front of the house alone; a goose watching over her brood as they learn to swim, and a family of birds has taken over the mailbox – the property sitting, appropriately, on Bird Lane. With lavender and fruit trees being cultivated to one side of the house, with the lavender extending to encompass two more sides, the farmhouse is welcoming in a shabby-chic kind of look.

The best way to reach this farmhouse is to follow the track down the west side of the region from the Landing Point. This takes people past the old vehicles, one of which – an old truck – has become something of an apiary, with hives established outside its blocky form, and more hives apparently mounted along either side of its rear chassis.

Cherishville Spring 2026

A second vehicle has been turned into someone of a psychedelic piece of graffiti art as it sits at the side of the track. Beyond this, the track then rises up a slope to pass another outbuilding / shack where horses and sheep graze, to meet the stone built bridge spanning the region’s stream. The track then curls along the slope of the farmhouse hill before passing between the fencing surrounding the farmhouse. As it does so, it passes a signboard explaining the art of trail blazing and referencing the Slovene cartographer and trail blazer, Alojz Knafelc.

High photogenic, calming and rich in colour, sound and with an ideal EEP setting, Cherishville Spring is another excellent design by Lam Erin.

SLurl Details

Nowhere B and Bamboo Barnes at Nitroglobus in Second Life

Nitroglobus Roof Gallery Annex: Nowhere B – Homebody Surrealism

As I continue to try to get back into regular blogging (and catch up with the backlog of invites and suggestions – please bear with me on this!), it was off back to Nitroglobus Roof Gallery, operated and curated by Dido Haas, to peek at a couple of exhibitions, one of which is by one of my favourite SL artists.

Within The Annex of the Gallery is a new exhibition by Nowhere B, who makes a return to the gallery, Dido having hosted Nowhere’s first solo exhibition back in 2023 (see:  Intimist journeys and Zorian women in Second Life).

Nitroglobus Roof Gallery Annex: Nowhere B – Homebody Surrealism

That exhibition presented a highly personal journal (if you will) of Nowhere’s journeys through Second Life. With Homebody Surrealism, he presents another series of images which again carry with them something of a personal subtext, but which take the observer in an entirely different direction, as Nowhere explains:

Homebody Surrealism is a domestic surrealist exploration—an inward journey into the strange and the marvelous hidden within ordinary life. It proposes that the familiar spaces we inhabit daily are not dull or exhausted, but quietly enchanted. Within the home, the most mundane objects become portals to wonder. An egg, a drawer, a window, a curtain—each holds the potential for revelation…
Homebody Surrealism invites us to look again, more slowly and more attentively. When attention deepens, the ordinary begins to shimmer with ambiguity and quiet mystery. The domestic world—so often dismissed as trivial—reveals itself as fertile ground for imagination, introspection, and awakening.

Nowhere B.

Nitroglobus Roof Gallery Annex: Nowhere B – Homebody Surrealism

The result is a collection of highly imaginative and engaging images and pieces which are captivating when first seen, then quietly beckon us in closer to decern more of what they wish to say – or at least, invite us to see beyond the “mundane”, as Nowhere puts it.

Given the nature of the pieces, their potential subjective resonance and that touch of subtext, I’m not going to colour your thinking by offering my own thoughts on the pieces within Homebody Surrealism. Rather, I invite you to visit the exhibition yourself and see them first hand.

Nitroglobus Roof Gallery: Bamboo Barnes – Infinity Wall

The main hall at Nitroglobus sees the return of Bamboo Barnes with her fifth exhibition there, one which is deeply introspective in nature and form, carrying with it the title Infinity Wall.

Bamboo is, for me, one of the most vibrant, evocative, provocative, and emotive artists in Second Life. Her work is far removed from that of other artists who mix digital techniques with images from the physical world and those from SL. Her work is both vibrant and open in its use of colour and tone, yet also deeply introspective – that latter often brought forward by her use of those same assertive colours and tone. her themed exhibitions are thus a window into art  – and into the artist herself.

Nitroglobus Roof Gallery: Bamboo Barnes – Infinity Wall

This is very true of Infinity Wall, which is one of the most personal of Bamboo’s exhibitions. This is very much noted by Bamboo herself:

It felt like a small universe—perhaps because both of our lives had somehow fallen out of sync with the world. Now I find myself asking questions I cannot answer alone, and at times I shrink from the pain they bring. It is like standing before an infinity wall, staring at a black dot as it slowly fades away. I no longer know where I stand—whether I am falling or floating. The only certainty is that there is nothing beneath my feet.
…Nothing is perfect, and once something begins, it moves inevitably toward its end. This is a quiet, unchangeable truth we must accept. Until that moment arrives, we drift, sometimes sink, and continue trying to create a universe we cannot hold onto forever.

Bamboo Barnes

Nitroglobus Roof Gallery: Bamboo Barnes – Infinity Wall

The majority of the images in this collection are self-portraits; pieces which are deeply emotive and beautifully telling in their stories. From individual pieces through to a triptych, these pieces reveal Bamboo’s talent for setting mood and suggesting thoughts and feelings – and offering insight into her own thoughts and reflections.

As with Nowhere B’s exhibition, Infinity Wall must be seen directly rather than seen through the lens of my thinking in order to be properly heard in its messages. As such, I again thorough recommend a visit.

SLurl Details

Sunshine Homestead is rated Moderate.