La Maison d’Aneli, curated by Aneli Abeyante, has opened the doors to its April 2019 ensemble exhibition, and once again brings together the work of several artists to offer a rich mix of art and artistic expression, featuring 2D and 3D art and a marvellous journey into machinima.
This exhibition starts at the gallery’s ground level, with a most unusual motor show by Willem Koba, which juxtapositions a shiny, pristine parking garage with SL cars and vehicles that have, to put it mildly, seen better days. I’m not sure of the purpose of this element of the exhibition, but it does make an interesting and unusual gateway to the teleport up to the gallery proper.
It is here that the rest of the artists within the exhibition display their work. Calypso Applewhyte and Magda Schmidtzau between them present two very different, yet at the same time somewhat reflective of one another. Magda – or Maddy – has the more extensive portfolio of the two on display, and it demonstrates the breadth of her avatar work, from portraiture, through nudes and fantasy to richly artistic pieces.
Located on he upper floor of the gallery, Calypso – or Caly – offers a more focused selection of work, which leans into fantasy and science fiction elements. Like Maddy’s selection there is a mix of colour and monochrome to the set, but I admit that – as much as I admire Maddy’s work – I was drawn more to Caly’s exhibition, simply because of its captivating “minimalism”. This can be seen in both the images and in the use of the display space around them. This latter point in particular allows the eye to more readily focus on each piece individually, without the distraction of neighbouring works intruding into the eye and mind. This minimalism also presents a rich vein of narrative within each piece, which for me is fabulously exemplified in the wonderful Ma tristesse, seen at the top of this article.
Also split between the gallery’s upper are lower floors are RazorZ and Bachi Cheng – both of whose art I don’t believe I’ve previously encountered in Second Life. RazorZ’s digital work is presented in both 2D and 3D, and is a glorious use of shape, colour and form; his sculptures wonderfully alive and vibrant, while his (apparently physical world) photographs are given a marvellous digital / alien life through the use of colour filtering / layering.
Bachi also presents some of her physical world art on the upper level of the gallery. These are raw, intense and emotive drawings, with Bachi noting, “I love to paint Moments. Moments of life, Moments of Love, Moments so deep that you never want to forget them, Moments at the edge of orgasm or despair, just life; like we ought to live it, plainly.”
The majority of Aneli’s pieces are beautifully animated and make use of geometric expression to captivate the eye. Colour and monochrome, these are pieces that tend to draw the eye into them, casting an almost hypnotic calming influence through their gentle motion.
Iono and Theda present Samuari, a machinima short film, reached via a walk along an avenue of Torii gates set within a midnight landscape. Filmed by Iona, it utilises elements of Theda’s art (and Theda herself), within an extraordinary piece, worthy of the best of classical Japanese film-making. The story unfolds entirely visually and sans dialogue, supported only by the use of sounds and music. It is a film that, frankly, should not be missed.
- La Maison d’Aneli (Virtual Holland, rated: Moderate)