A Wild Lost Line in Second Life

MetaLES: Wild Lost Line

Wild Lost Line, now open at MetaLES, curated by Ux Hax and Romy Nayar, is a new art / sound installation by artist and musician Morlita Quan, a physical world artist hailing from Spain and working under the name. Her artistic expression covers 2D and 3D art and music, and all three are very much reflected in her Second Life presence.

The installation should be be viewed with the viewer’s Advanced Lighting Model enabled and local sounds turned on, with local time set to midnight. There is a recommendation to set Shadows to Sun/Moon + Projectors, but given the time-of-day setting and the fact that Shadows can result in a sizeable performance hit for some, I would suggest this isn’t so vital a requirement. I would, however, recommend using headphones to get the full stereo effect of the aural environment. Once you are set-up, touch the teleport board at the MetaLES landing point to jump to the installation.

MetaLES: Wild Lost Line

This comprises a path through a series of halls and rooms in which Mori’s art is displayed, the route through them indicated by black or white arrows on floors and walls. The art itself is offered on a huge scale, from drape-like hangings you must walk through, to pieces forming floors and ceilings, as well a those hanging on walls. They are, perhaps, a little too huge – but I’ll come back to that.

The final part of the exhibit takes you along the top of the walls separating the various rooms, allowing you another view of the art on display. at the end of this, a teleport drops you to a 3D element, a flower-like structure surrounded by floating cubes. Touch a white cube at the base of “stem” of this, and you’ll be seated within the “petals”, where touching the surrounding ring  of coloured triangles and the small spheres below them will allow you to play various notes and tones. From here, a ramp leads you back into the installation while a teleport board takes you back the MetaLES landing point.

MetaLES: Wild Lost Line

Quantifying Wild Lost Line is difficult. I find Mori’s work to be its most captivating when a piece can be seen in its entirety. This allows one to fully appreciate its complex beauty, the use of line, colour, shade and pattern to present something deeply organic yet also clearly geometrically defined. Such is the overwhelming size of the pieces present in Wild Lost Line, my deeper appreciation born of this appreciation of complexity and form was lost amidst the technicalities of camera juggling and an inability to easily encompass all of a single piece comfortably in my view. Thus, I found myself conflicted in touring the installation.

However, you may see things differently – so why not pay a visit?

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