I’ve long admired Milly Sharple’s art, as I’ve tended to mention in the past. I’ve reported on her work – which includes region designs as well as art; and along with many others, disappointed to hear she was retiring from Second Life art and shutting down her facilities at Timamoon Arts and Isle of Lyonesse.
However, such was the outpouring of support from those wishing to see Milly continue to display her art in, she relented and established a new gallery called Cynefin, where she is now exhibiting a select of work called Creations.
One of the major attractions for me with Milly’s work is her fractal art; I’ve written about it on numerous occasions, and Creations includes examples among the 52 pieces on display. However it also includes pieces representing her more recent experiments with mixed media, combining her work with fractals with her photography. Also to be found are samples of Milly’s landscape photography from within Second Life – all of which makes Creations a fascinating and worthwhile visit.
The gallery space is set within a single-storey building of modern design which is ideal for exhibiting Milly’s work. A central entrance lobby featuring six pieces of Milly’s more recent work in mixed media, which opens out into two large gallery spaces with rooms for wall-mounted and free-standing displays of Milly’s art.
The art itself is, as always, is magnificent; the richness of the pieces has to be seen in order to be fully appreciated. The diversity of styles on display – as is evidenced on entering the lobby space, where one is greeted by six attention-holding pieces – means this is a truly superb exhibition. As such, written words do not do any of the art offered the justice it deserves; nor does picking out any particular piece or group of pieces for specific mention above the others. However …
There is a series of seven female studies which I have to admit completely captivated me with their presence and depth (five are show in the image below). At first appearing as “simple” studies, there is a richness of style within each of them. With some this borders on the abstract, with others there is a hint of Milly fractal work within the mix of human study and floral painting. They are – even by the extraordinary standards of Milly’s art as a whole – stunning.
Milly’s work stands as some of the most beautiful art in Second Life – and frankly, the grid could have been a duller place without it. Seeing her return with a new gallery space, and one so rich in content is both a pleasure to see and a joy to welcome. I’m looking forward to many future visits.