Day: September 23, 2024

Over a decade ago, I wrote about a stunning exhibition of fractal art entitled Cathedral Dreamer (see: Fractal dreams in Second Life). At the time, it was my first introduction to the artist’s work – although by no means his first installation within Second Life -, and the start of a wellspring of admiration I’ve had for his work ever since.

Long before AI became the “in thing” for artistic expression, the artist in question was working with software tools to produce the most amazing fractal pieces, genuine cathedrals, palaces – even cities – of the imagination modelled in 2D, together with magnificent vehicles and spacecraft. Nor did his creativity stop there; combining images with narrative and setting, his work came to weave together broad canvases of art, story and the imagination to take us both on journeys through space and time whilst giving us pause for thought.

Installations such as Heritage: Vestiges (January 2016, reviewed here), and its sequel, Heritage: Wrecks (May 2016, reviewed here), sought to allegorically and artistically ask us about how the past may have informed us in bequeathing structures and memories to us, and how we might in turn inform our descendants in  far future age in what we bequeath in terms of structures and edifices. He has also used his art to encourage us to explore aspects of philosophy (The Anthropic Principle, April 2017, reviewed here) and also moved into 3D builds and installations such as Skyscrapers (April 2020, reviewed here) and the fabulous Sapiens (January 2018, reviewed here), an exploring the nature of humanity and human society, and of consciousness and thought.

That artist is Gem Preiz, and the above is just to touch on his work in the years since my first encounter with Cathedral Dreamer. I mention it all intentionally, not because Gem really needs any introduction, but because he has opened a new installation within Second Life, which will remain in place for (I believe) around six months. It is a piece which – whilst far from being Gem’s last in SL, I’m sure – in many respects brings things somewhat “full circle”, returning o the theme through which I first encountered his work, as he noted to me when inviting me along to view the new installation:

Hello Inara. 10 years ago, you wrote a blog post about someone dreaming of cathedrals 🙂 . I finally managed to build one in 3D! It’s now visible “for real”, built in my way  [with] prims and minimal textures … I hope you will have time to visit.

And so it is that I jumped over to visit Everlast, a single installation of impressive size (28,913 Land Capacity and occupying a Full region leveraging the Lab’s Full region Land Capacity bonus) in which Gem has truly become the Cathedral Dreamer.

It’s a build that encompasses many signatures of his work, past and present: the use of prims over mesh; the minimalist use of colour which a focus on gold (which has been the colour of choice found within several of his more recent installations and exhibitions), the use of geometry and geometric forms which echo the geometry from which fractal grow, thus providing a subliminal link to his 2D fractal art (none of which is displayed here, an unusual move for Gem, but understandable given the overall LI of the installation) – and of course, his love for architectural design.

As a region-wide build, Everlast does require a fairly long draw distance to take it all in from the outside, but this can be stepped down own inside the main structure, if required. Those running on non-PBR viewers should also ensure that the Advanced Lighting Model (ALM – Preferences → Graphics) is enabled in their viewer for the best viewing experience, and if you’re able to do so, Shadows should be enabled – although these are not strictly required in terms of general viewing.

The build itself really comprises four elements – the surround, with its little pyramid structures; the  covered cloister-like walks surrounding the main build, the garden between these “cloisters” and the main structure, and the soaring beauty of the cathedral-like main structure in the centre. The geometry expressed throughout all of these elements draws everything together and becomes marvellously obvious when the entire installation is seen from above. It is also something visible within the cathedral itself through inlaid floor patterns, the lines of columns and – most particularly –  the floor designs themselves.

Ultra-modern in appearance, the cathedral nevertheless harkens back to the great Norman cathedrals in multiple subtle ways whilst also looking to the future. Its minimalist styling – plan white walls with gold coloured elements given both an impression of newest and, conversely, great age, marking the installation a beautifully timeless. In this, the outlying pyramids also add a sense of age, recalling as they do past civilisations. There is also a sense the building is incomplete: seating is scarce, the walls unadorned, etc. But again, as Gem notes in his introduction to the installation, this is intentional:

Some things don’t ever last long, others are everlasting. Some deserve to be forgotten, others deserve a shrine.

“Everlast” is a build which was meant to never be finished. Winter froze it in its whiteness and shades of gold.

Of of this makes for a place not only of artistic expression which has been beautifully conceived and executed, but also of personal contemplation and reflection. It’s is an installation not only to be seen, but experienced. As such, I recommend Everlast for your appreciation. Do go visit.

SLurl Details

• Everlast by Gem Preiz (SLEA3, rated Moderate)