Currently open at The Lovers Art Gallery are two exhibitions that recently caught my attention: The Colour of Love and Implied Horizons, by artists Carelyna and Etamae respectively. The two exhibitions are split between the ground and upper floors of the gallery, with Implied Horizons occupying the lower of the two.
Active within Second Life photography and art since 2018, Etamae has established a reputation for presenting transformational images: captures from around Second Life that she has then edited and post-processed to create something quite different and striking to the eye. She has also, in some of her exhibitions, has presented pieces that have been of an organic, abstracted nature (see A late summer exhibition at the Rose Gallery, August 2018) that are as equally as captivating.
With Implied Horizons, the focus is very much on the former of Etamae’s approaches: images from around Second Life that have undergone post-processing to give us something very different to the location or item that gave rise to them. The result is a baker’s dozen of images that are bold in tone, colour and presentation, some of which include perhaps a lean towards abstract in their finish (take Ferris, located on one of the easel at the front of the gallery space, for example), while one Ikea, has an almost surrealist aspect within it. All are richly engaging, demonstrating a marvellous eye for colour that gives several of the pieces – Two Stags and Town Limits, for example – a captivating sense of vitality.
On the upper floor, The Colour of Love presents 15 of Carelyna’s pieces. These offer something of a complimentary connection to the ground floor exhibition in that the majority of the pieces offered have also been post-processed, this time to give them the look and feel of paintings.
Given the title of the exhibition, it’s no surprise that several of the pieces in this selection are presented in warm reds, yellows, oranges, greens and soft browns, offering a feeling of warmth one might associate with love. However, even where colder colours – blue, white, grey and harder greens – are used, there is a sense of memory that suggests a recollection of intimate times.
Some of the places within these pictures may be easily familiar (perhaps most notably in the case of Calas Galadhon’s Santorini and also with Mandingo Quan’s Hazardous); other may tug at the seasoned SL’s traveller’s memory, although a right-click and examine might be required to bring the place properly to mind. However, wherever they were taken is really secondary to the emotional essence each contains. Meanwhile, there are two pieces that sit perhaps a little apart from the rest: Waiting for My Real Life to Begin and Autumn Wings. In comparison to the other images presented, Waiting… has undergone far less post-processing and retains the look and feel of a photograph while Autumn Wings has a soft, abstracted look to it. Different to the others they may seem to be, but again, there is no escaping their emotional power.
These are two engaging exhibitions, well presented, and with pieces that are fascinating to see and appreciate.
- The Lovers Art Gallery (The Lovers, rated Adult)