Nitroglobus Roof Gallery, July 2026: Scylla Rhiadra – Thou Shalt Not be Burned
I have said it before, and I will doubtless say it again: Scylla Rhiadra is one of the most gifted communicators in Second Life. Her ability to use art to convey ideas, feelings, realities and truths, and/or to expose concepts and ideas and encourage the grey stuff between the ears to fire on all available cylinders, is second to none.
In the years I’ve been covering Scylla’s work, I’ve always been utterly engaged by its depth and commentary – possibly to the extent of at times putting words in her mouth, so to speak, via the articles I’ve written here.
Using her own avatar as a model, Scylla creates images of a captivating depth and style, allowing individual pieces to be appreciated purely for their artistry and framing. But when taken with her ability to observe and comment upon the human condition, they become visual essays by which she conveys her thoughts and reflections.
I have been seriously focused upon photography in Second Life since 2018. Most of my work has been avatar-centred, because I’m particularly interested in the ways in which we can represent the “human” in a digital simulacrum: how can we retain the things that reflect the complexity and uniqueness of “real life” identity – emotions, connections, our dynamic engagement with the world – in a simulation that, to varying degrees, constrains the expression of these things?
– Scylla Rhiadra on her photography
Nitroglobus Roof Gallery, July 2026: Scylla Rhiadra – Thou Shalt Not be Burned
Such is the case with Thou Shalt Not be Burned, a collection of her Second Life photography built around the notion of transitional moments in life – the form they might take, how they impact us and the time and how they might be looked back upon with the passage of time. Presented at Nitroglobus Roof Gallery, curated by Dido Haas, it offers a further chapter in a collection of works vivid in both their presentation as images and through their context as commentary.
The title for the piece is taken from Isaiah 43.2. In context, the verse holds much value to the subject; however, it also perhaps initially obscures it behind thoughts of a religious-themed exhibition – which this is anything but.
Nitroglobus Roof Gallery, July 2026: Scylla Rhiadra – Thou Shalt Not be Burned
Life is a series of transitions. Some – the major seminal moments of change such as leaving our parents’ home to start life independently of them, or getting married or starting a new career or engaging in a new means of creative expression, and so on – are the ones we perhaps most readily identify. These events so often feel like they are the cliff-hangers, if you will, between one chapter of life and the next, and because they are so impactful of the moment, they can feel as if they are the moments of transition in life.
However, whilst these pivotal moments can have some of the greatest impact on us, the reality is life is really a continuous flow of transitions, many of them small and quiet, seemingly incidental at the time they occur: the making of a friend, a small moment of discovery, a quiet daydream. Moments which flow as a part of living such that when they occur, we may not even recognise them or the changes they invite; instead, we transition in the most subtle of ways.
I’m also interested in exploring ways of making the digital art we produce here something that is in itself a little unique — neither documentary screenshot of a “gaming” platform, nor pallid imitation of art forms (photography, painting) in real life. Can SL art become its own thing?
– Scylla Rhiadra on her photography
Nitroglobus Roof Gallery, July 2026: Scylla Rhiadra – Thou Shalt Not be Burned
Such is this subtlety, we are perhaps unaware of it until a conscious effort is made to look back, be it over months, years or even decades, brings with it the realisation that some of the most enduring changes in our lives originated and grew out of those chains of moments, small and quiet and completely unrecognised at the time they occur, which forge us without the heat and flame of change, and make us who we are.
Through the pieces offered within Thou Shalt Not be Burned, Scylla offers up a series of pieces in celebration of these small moments of change and the settings and surroundings in which they might occur. Perfectly framed as simple moments in time, each one carries its own brief narrative of an event, an action, the appearance of a memory – quiet transitional moments within the everyday flow of life.
Finally, I am interested in Second Life photography as a means of storytelling, which I conceive of as a dynamic and creative dialogue between “artist” and “viewer,” in a way that seeks to dissolve the boundaries that too often narrowly define those two roles.
– Scylla Rhiadra on her photography
Nitroglobus Roof Gallery, July 2026: Scylla Rhiadra – Thou Shalt Not be Burned
There is a richness and depth within these pieces which speaks to us. Transition is not merely the sudden eruption of a singularity around which our lifer suddenly reforms; it is a galaxy of moments, of the progression of life through experience, of growth through the most natural of events faced every day.
Once again, a truly marvellous and deeply engaging exhibition from one of Second Life’s most engaging photographic artists.
Note: Thou Shalt Not be Burned officially opens on Monday, July 20th, 2026 at 12:00 noon SLT with music by DJ Magda.
The Swaying Shelf, July 2026 – click any image for full size
In my previous Exploring Second life piece, I wrote about Storywood Sanctuary, noting that it is one of two settings located in the Mainland continent of Heterocera designed by the Wild Abundance team. The other of these locations is The Swaying Shelf, sitting a little further to the east along Mock Heather Road, and which I also recently visited.
Around twice the size of Storywood Sanctuary, The Swaying Shelf contains themes and motifs in keeping with the former whilst offering its own character and nature.
The Swaying Shelf, July 2026 – click any image for full size
There is no set Landing Point, but a pair of tree houses (the excellent Yara Treehouse by Cory Edo) sit close to the roadside, one of which acts as the entrance from the road – just climb and descend the steps. As this delivers visitors from the road to the setting’s footpath, I’ve arbitrarily used a SLurl in this piece which will drop you more-or-less onto the same spot on the footpath.
The path forms a loop around an arbour on its opposite side to the tree houses. Draped in vines and with grass for a carpet, the arbour sits as a cosy reading room complete with rocking chair and blazing fire in the hearth.
The Swaying Shelf, July 2026 – click any image for full size
Pointing eastwards, the path, lit by lanterns – the setting had its own day / night cycle – makes its way past another tree house, this one atop a tree apparently growing out of a storybook, before weaving its way to where a gate provides access to the Greenwitch Cafe.
Whilst larger than Storybook Sanctuary, The Swaying Shelf is more open in nature, just the one path winding through it and most of the land is give over to trees and flowers. Which is not to say it is not without its own little details worth looking out for; in this regard, do be careful where you tread when you’re approaching the gate to the café next door.
The Swaying Shelf, July 2026 – click any image for full size
Sitting in a parcel of just 1024 sq metres, The Greenwitch Café sits just over the region boundary from The Swaying Shelf.
As a part of The Nature Collective, the café has been designed by the extended Cerulean family under the Le’eaf & Co banner. This talented group are responsible for many such builds beautifying corners of Mainland, a good few of which I’ve covered in these pages, as well as operating the Cerulean estate, which I’ve also written about several times.
The Greenwitch Café, July 2026 – click any image for full size
Savour garden-to-table meals in a queer-owned, cannabis-friendly café nestled in the Lake District, surrounded by forest and blooms. Everything is grown on-site — from herbs to healing plants. A cosy, magical LGBTQIA+ friendly retreat.
– Greenwitch Café About Land description
Apparently utilising a converted shipping container as its structure, the café offers outdoor seating on the wooden deck placed before it and on its roof, there latter reached by a set of outside stairs to one side of the deck. Additional seating for visitors sits just to the right of the entrance gates in the form of a small pergola neatly and cosily set with furnishings and décor.
The Greenwitch Café, July 2026 – click any image for full size
As the About Land description and signs on and around the café make clear, this is a place to enjoy a drink or two and nibble on something sweet or savoury – or which may well give a person a certain buzz, shall we say.
The Landing Point sits between between the sweep of Mock Heather Road and the gabled gates providing access to the café’s grounds, it being only a few steps from the gates to either the café or the pergola.
The Greenwitch Café, July 2026 – click any image for full size
Bees and Silkies – Chinese silk chickens – are cared for here, and it’s easy to assume the honey produced by the former finds its way into and onto some of café’s offerings. Eggs from Silkies are known to be especially rich in favour, so its likely some of these also find their way into the cafés kitchen – although Silkies are often kept as much for pets / exhibition birds as they are for their eggs. Towards the back of the land is a neat little area with pagan / occult-ish vibes – and with a neat little twist on the idea of Tarot cards.
Surrounded by tall fir trees and wild grasses, the café also shares its space with the local squirrels – do be careful where you tread on the deck! – whilst a barn owl keeps an eye on all that goes on. I admit to finding the parcel’s Shared Environment leaning a little towards the dim side and so played around with the Sun position to brighten things a little (rather than playing with the HDR slider), but that’s purely a personal thing.
The Greenwitch Café, July 2026 – click any image for full size
Taken individually or as a joint visit (no pun intended given the nature of the café!), The Swaying Shelf and The Greenwitch Café again demonstrate how small corners of the Mainland can be turned into welcoming little spaces for people to freely enjoy.
Rocket Lab: the launch of VICTUS HAZE, the upper stage and payload fairings of the Electron rocket; the Pioneer Demonstrator payload. Credit: Rocket Lab
Rocket Lab, the New Zealand / US company, has made a name for itself in the smallsat market – possibly the fastest growing sector of the space industry – both as a launch provider via its Electron rocket (around US $7.5 million per launch). It’s one of the most successful commercial space companies going (although still to consistently earn a profit), and it is growing its reputation both in the commercial sector and in support of US government-related launches.
In this latter regard, in June 2026, the company set a new benchmark for military responsive space operations under the United States Space Force’s (USSF) TacRS – TACtical Responsive Space – programme. This is a programme designed to place satellites into orbit on short notice during a crisis. VICTUS HAZE, the test involving Rocket Lab, tested the concept under demanding timelines and cleared several milestones well ahead of schedule.
In particular, the company was able to take a payload – their Pioneer demonstrator of a satellite they have been specifically developing to meet USSF requirements – from storage through ground check-out, fuelling and integration into a launch vehicle and thence to orbit in under 17 hours, beating the previous TacRS test mission’s record by 10 hours. Key to this was Rocket Lab’s ability to complete all trajectory guidance calculations in order for Pioneer to rendezvous with its intended target in just 4 hours, including coordinating all the required ground tracking stations around the world.
While the launch didn’t shave time off of the satellite’s on-orbit initialisation process, it still meant that within 3 days of launch, the satellite was ready to begin rendezvous and proximity operations (RPO) with a target a vehicle in a simulation of chasing down and observing a Chinese satellite which had itself been launched in order to snoop on an orbital asset operated by a western nation.
The success with VICTUS HAZE further enhanced Rocket Lab’s status as a company that delivers on its promises. Whilst specialising in the smallsat market – perhaps the fastest-growing sector of the commercial space industry – using its Electron rocket putting small payloads in orbit for around US $7.5 million a shot, the company is far more than a launch provider.
As well as providing launch vehicles for customers, Rocket Lab has a dedicated satellite development capability enables the company to provide the payloads customers are seeking to fly. Further, and as demonstrated by Victus Haze, Rocket Lab has the ability to manage and co-ordinate satellites in orbit on their client’s behalf – Pioneer remaining under Rocket Lab’s operational control on behalf of US Space Command. Thus, the company is able to provide a full vertical stack of satellite development, launch and operational capabilities to customers.
While Electron, with its current maximum payload capacity of 300 kilos is the most well-known of the company’s rockets, it is not the only vehicle Rocket Lab operates. There is also the Electron-derived HASTE vehicle, specifically designed for flight test opportunities in the hypersonic and suborbital system technology development field.
The DART AE demonstrator, built for the US DoD by Australian company Hypersonix, mounted on its launch bus ahead of integration into a Rocket Lab HASTE launcher. Credit: Rocket Lab / Hypersonix
A HASTE vehicle was most recently used in February 2026 to lift the DART AE hypersonic demonstrator to a release altitude where it could test advanced propulsion, materials, sensors and guidance systems under real hypersonic flight conditions (5x the speed of sound). Built by Australia’s Hypersonix on behalf of the US DoD, a unique part of DART’s design is that the scramjet engine it uses is 3D printed.
In a typical twist of humour reflective of Rocket Lab’s CEO, New Zealander Sir Peter Beck, the rocket used to successfully launch and deploy DART AE for its (also successful) test flight was called That’s Not a Knife – a reference to an iconic scene in the film Crocodile Dundee, thus referencing the Australian heritage of hypersonic vehicle.
As I’ve reported on several times in these pages, Rocket Lab is also developing a new reusable medium-lift launch vehicle (MLLV) called Neutron. This is due to make its maiden flight later in 2026, and has already gained worldwide recognition for it novel approach to payload carrying.
An artist’s rendering of Rocket Lab’s Neutron rocket and its “Hungry Hippo” payload doors. Credit: Rocket Lab
Rather than have the payload and the upper stage of the rocket mounted on top of the first stage, they are mounted inside the rocket’s first stage behind a pair of clamshell doors which will open up to release both – giving them the nickname of the “Hungry Hippo” – before closing to allow the complete booster to return to Earth.
Currently, Neutron is expected to make its maiden flight later in 2026, despite the loss of a propellant tank intended for the first flight-ready vehicle during pressure tests in January, 2026. The company has reported that it is now entering into vehicle integration, ground-testing of both the rocket’s main Archimedes engines and the vacuum-optimised version used in its upper stage is proceeding, and the construction of the new Neutron- capable launch pad at the Mid-Atlantic Regional Spaceport (MARS) within NASA’sWallops Flight Facility, Virginia is complete.
A Rocket Lab Archimedes methlox (methane / liquid oxygen) engine designed for the company’s Neutron rocket, undergoing testing at NASA’s Stennis Space Centre, Mississippi. Credit: Rocket Lab
Through its unique design and the reusability of its first stage, Neutron will be able to deliver up to 13 tonnes to low-Earth orbit with the first stage reused. This might not sound much compared to Blue Origin’s New Glenn or SpaceX Falcon Heavy, but it actually places Neutron right in the sweet spot of launch capabilities: able to meet requirements of 98% of all commercial payloads through until the end of 2029 (were all those contracts up for grabs). Thus, it is well-placed to compete not only with the behemoths in the market (which have to wait around until they have sufficient payload to make launches reasonably cost-effective), but very much directly against SpaceX Falcon 9.
At the time of writing, Rocket Lab is attempting to acquire Iridium Communications for some US $8 billion. Iridium operates a network of 80 satellites in near-polar orbits (66 operational, 14 in-orbit back-ups). This constellation provides a globe-spanning network for voice and data communication from handheld satellite phones, satellite messenger communication devices and integrated transceivers, as well as for two-way satellite messaging service from supported mobile phones.
The Iridium network provides global coverage and communications relay. Credit: unknown
If the deal goes through, it will mean Rocket lab has entered another area of competition with SpaceX, Amazon and OneWeb – one which comes with an already established satellite network and 2.54 million billable subscribers (which is well short of Starlink’s 10 million). In addition, Iridium provides services for the US government, airlines, cruise ship and shipping operators. Perhaps most significantly, the Iridium system is certified for use in the Global Maritime Distress and Safety System (GMDSS) and for Future Air Navigation System (FANS) data links, neither of which is supported by the other providers, thus putting Rocket Lab in a unique position to harness new customers.
All of which speaks to a lot for a little rocket company that decided it can.
1 Launch, 1 Billion Kilometres and a Rendezvous
In May 2025, China launched one of its most ambitious missions so far: sending a robotic vehicle to rendezvous, land on and gather samples from a near-Earth asteroid (NEA) and then return those samples to Earth.
It’s not the first time there has been such a mission, both NASA’s OSIRIS-REx and Japan’s Hayabusa and Hayabusa2, have all gathered samples from near-Earth objects; however for China, Tianwen-2 (“’Heavenly Questions-2”) is an ambitious step considering the relative age of their space programme.
The target of the mission is 469219 Kamoʻoalewaa (also known as 2016 HO3), what is called a quasi-satellite because there are periods in its orbit around the Sun where it passes close enough to Earth to become temporarily caught by Earth’s gravity, orbits the planet numerous times whilst continuing along its orbit around the Sun before moving off once more until the next time its orbit and that of Earth intersect. What makes 469219 Kamoʻoalewaa particularly interesting for study is that it is believed to be a piece of our Moon ejected into space when an impact created the crater Giordano Bruno on the lunar far side.
Orbit of asteroid 469219 Kamoʻoalewa showing it’s quasi-moon nature around Earth. Credit: NASARendezvousing with such an object might sound relatively simple compared to sending a probe to somewhere like Mars. However, orbital mechanics mean that doing either is a complex task – particularly in the case of 469219 Kamoʻoalewaa, about which relatively little was known in terms of trajectory when the mission launched. In all, it took over a year for Tianwen-2 to close on the asteroid with frequent course corrections guided using observations from Earth, travelling 1 billion kilometres in the process.
In early June, the probe was able to detect the tiny asteroid – just 27.4 metres across – directly, rather than relying on guidance from Earth. This allowed it to initiate a capture control manoeuvre, settling into trajectory alongside that of the asteroid, matching its orbital path rather than simply crossing it. Through the first part of June, the probe gently closed the distance between itself and the asteroid to just 2,000 kilometres.
By July 2nd, 2026, Tianwen 2 had reached an altitude of 20 km above the asteroid, allowing it to commence its primary science mission. The vehicle will now carry out an intensive survey of the asteroid as it gradually decreases the separation between them until at 300m, with a sampling site determined, Tianwen-2 will attempt to touch-down briefly on the asteroid’s surface and gather around 100 grams of material.
469219 Kamoʻoalewa imaged by Tianwen-2 on 2 July 2026 from a distance of 20 km. Credit: CNSA
If successful, this will be the first time a spacecraft from Earth has used an anchor-and-attach approach method to physically fix itself on an asteroid to gather samples. Both of the Hayabusa missions and OSIRIS-REx used touch-and-go, essentially closing to a point were a sampler gathering device could make contact with the target for long enough – a couple of seconds – to gather a sample before springs in the device compressed by the mass of the spacecraft released to push it away. However, in case Tianwen 2’s anchor and attach mechanism proves unsuitable, the craft also has a touch-and-go capability for sample acquisition.
Following sample gathering, Tianwen-2 will return to Earth, ejecting its payload before heading back out into space for a rendezvous comet311P/PanSTARRS, which it will reach in 2035.
Astronomers Discover 1st Atmosphere around an Earth-sized Planet in a Star’s Habitable Zone
LHS 1140 is a red dwarf star appearing in the constellation of Cetus (the Whale), approximately 48.8 light-years from our own star. It has 18.4% the mass of the Sun and is 21% of its radius. It is also the parent to two exoplanets – LHS 1140 b and LHS 1140 c.
Of these, LHS 1140 b, is classified a “super Earth”, being roughly 70% larger in radius than Earth and with a mass 5.6 times greater. It orbits very close to its parent star – some 0.095 AU – taking just 24.74 terrestrial days to complete an orbit. Despite this, the planet sits within the habitable zone for 1140, and because of the star’s small size, it receives around 0.43 times the incident flux – the amount of radiant energy received by a surface per unit area, typically expressed in watts per square meter (W/m²) as Earth does.
For some time since its discovery in 2017, observations of LHS 1140 b during its transits in front of its parent star have suggested one of two things: either it is a large rocky world with an atmosphere and perhaps 19% of its surface being water; or it might be a mini-Neptune with a really dense, hydrogen-rich atmosphere. To try to determine which of these might be true, in September 2024 a team of astronomers carried out a 6.5 hour observation of the planet’s transit in front of its star using the Magellan Clay Telescope at Las Campanas Observatory, Chile. During this period, the team measured an excess absorption feature consistent with helium, which they interpreted as a hydrodynamic atmospheric outflow driven by stellar X-ray and extreme-ultraviolet heating.
In other words they detected both an outflow of helium from the planet, indicating it has a potentially helium-rich atmospheric envelope consistent with a world. A further study in 2025 further resulted in measurements consistent with the September 2024 study, minus no excess helium absorption, suggesting the planet’s atmosphere is relatively stable atmosphere which is not constantly outgassing under the influence of a solar wind from its parent star. That the atmosphere appears to be predominantly helium also means the indications that water could exist on the planet’s surface are likely accurate.
An artist’s impression of the limb of LHS 1140 b and its parent star, LHS 1140. Credit: ESO
Of course, being classified “Earth like” and having an atmosphere does not mean there is life on LHS 1140 b – nor does the fact it sits within its star’s habitable zone. However, all of the data gathered suggests that LHS-1140 b has a temperature at least equitable to Earth’s Polar Regions so the water on its surface could well be in part liquid, rather than totally frozen; and if the atmosphere is sufficiently dense, then surface conditions could be a lot warmer, and so more liquid water might be present.
Two of the key determinants in assessing whether a planet like LHS 1140 might be capable of supporting life once it has found to have an atmosphere and the potential for liquid water are: how active is the parent star, and whether the planet is tidally locked.
Most red dwarf stars tend to be violent places; their small size means they suffer powerful convection currents which can led to violent flaring and other outbursts fully capable of ripping the atmosphere away from a planet as close to it as LHS 1140 b is to its parent. However, at an age close to that of our own Sun, LHS1140 is surprisingly clam for its size, meaning there is a good chance of LHS-1140 b retaining its atmosphere for long enough for life to potentially take hold.
Tidally locked refers to a planet being so close to its star that it ceases rotating about its own axis and instead keeps the same side facing the star (like the Moon keeps its same face towards Earth). In these situations, it means that one side of the planet is in perpetual sunlight whilst the other is constantly exposed to space and thus to freezing. This can lead to the planet have extreme weather, particularly along the terminator between the day and night sides of the planet. However, such conditions don’t necessary rule out such a place supporting life – but it does make it harder.
As such, there is still a lot more that needs to be understood about LHS 1140 b, but the fact we now have what appears to be the first direct evidence of an atmosphere around another world means we will likely be able to find others.
Subcutan Gallery, July 2026: Sophie de Saint Palle – MORPHOSIS
I am fascinated by the idea that the body does not reveal a person’s character, but that the mind creates its own form. The anatomical transformations are therefore neither physical deformities nor products of fantasy. They are metaphors—visible traces of inner states, thoughts, and attitudes.
– Sophie de Saint Phalle (Perpetua1010) on MORPHOSIS
So reads part of the introduction of MORPHOSIS, a collection of 11 pencil and ink drawings on cotton rag paper, exploring the contrast between outwards appearance and inward nature by Sophie de Saint Phalle (Perpetua1010), and which opened at her Subcutan Art and Architecture Centre on July 15th, 2026.
Subcutan Gallery, July 2026: Sophie de Saint Palle – MORPHOSIS
We all like to consider ourselves balanced individuals with a broadly positive outlook on life, capable of meeting the challenges of life good and bad with a solid, well-adjusted ability to manage.
But this is not always the case; people can be overcome by darker, more negative feelings and emotions to the point where that well-adjusted balance is lost. Instead, the likes of fear, hatred, anger, fanaticism – even jealousy and despair can become the driving forces of their lives, either as one all-consuming outlook, or in some combination or other. It is not always obvious that a mind has been so affected; not when considering a person’s outward appearance.
But what if there were? What if deep-seated negative feeling and thoughts, were to be manifested in our appearance?
Subcutan Gallery, July 2026: Sophie de Saint Palle – MORPHOSIS
Within MORPHSIS, therefore, Sophie offers-up drawings of the human body which are not perfect and devoid of the classical lines of beauty one might normally associate with such studies; instead, they are marked by subtle imperfections. Their purpose is to act as a leaping off point for our imaginations within the context outline above: that of negative imbalances of the mind becoming visible. In viewing them we are asked not to see their imperfections as being part of the artistic process, but rather as the darker inner self writ large for the world to see.
Within this context we are then challenged to ask ourselves: If my mind, my imperfect thoughts, were to be manifested in my appearance, what form would I take? What might I see reflected in a mirror?
Subcutan Gallery, July 2026: Sophie de Saint Palle – MORPHOSIS
A layered, personal thought experiment through the use of art, MORPHOSIS is an an intriguing, well-presented and challenging exhibition. My thanks to Sophie for the invitation to visit.
SLurl Details
MORPHOSIS, Subcutan Art and Architecture Centre (Cobian Lane, rated Adult)
Storywood Sanctuary, July 2026 – click any image for full size
I was back on my jaunt around the Mainland once more, seeking cafés and coffee houses that offer neat little corners of the Second Life experience. Once again I found myself I Heterocera, but this time south of the atoll compared to my previous visit to take in Hi Cafe.
My destination this time was Storywood Sanctuary, the work of the Wild Abundance team founded and led by Aphiris Moris (Aphiris Mercury).
Storywood Sanctuary, July 2026
Welcome to Storywood Sanctuary! Here, you’re invited to wander through lush landscapes, dream under the shade of ancient trees, and savour a freshly brewed coffee. Enjoy the magic of this haven, where every corner holds a story.
– Storywood Sanctuary greeting
Located just to the north of Mock Heather Road and not far from the lake on the south side of that road, Storywood Sanctuary is one of two locations designed by the Wild Abundance team in close proximity to one another (I’ll be covering the other in an upcoming piece).
Storywood Sanctuary, July 2026
Covering a little over 6,000 square metres, the spot is – as the name suggests – literary themed, focusing on stories and books, and is LGBTQIA+ friendly.
The Landing Point sits within on a trellis-covered deck bearing the location’s name and where books and a table covered in the pages of a manuscript further hint at the setting’s theme. Just mind you don’t wake up Francine as she sleeps close by!
Storywood Sanctuary, July 2026
From here, a path winds through the setting, meandering past little motifs and details related to books or hinting at stories. These are nicely done with, for example, The World of Christopher Robin leaning against a tree stump on which a bear is asleep (possibly from enjoying too much honey?); while just off the path, a large copy of Mary Poppins has fallen open to allow three carousel horses to fly out, recalling a scene from the book (and perhaps more vividly, Disney’s take on the book). Feel free to sit on any of the horse for a photo.
In addition, on the approach to the coffee shop it is possible to see the stone figure of a little girl who might be taken as a certain Alice. Not too far from her and mottled by sunlight, is a glass coffin beneath a tree. Roses grow under its cover, but the reference to a certain story by the Brothers Grimm is clear.
Storywood Sanctuary, July 2026
Along with these motifs is much else to please the eye. There’s the friendly garden troll under the bridge, the flowering books along one bank of the stream and vying for attention with the butterflies made from printed pages. There are animals and birds to be found throughout; there’s tree trunk offering the chance to take and share stories, and more.
Obviously, there are places to sit throughout, from the library / reading room alongside the Landing Point deck all the way through to the coffee shop (and beyond), with some of quite interesting designs (three particularly in keeping with the book theme).
Storywood Sanctuary, July 2026
Not all the places to sit are on the ground or necessarily obvious (again, one of the very booked themed places might not appear to be so but for the brazier with its little fire sitting in front of it) – so taking a good look around as you follow path around the setting is recommended 🙂 .
Beyond the coffee shop is a further garden space available for wandering, a rutting track forming a loop around it while flowers of a more exotic nature grow and a forest carousel turns in time to fairground music, whilst the laughter of children (or wood nymphs?) might be heard by those with local sounds enabled.
Storywood Sanctuary, July 2026
Cosy and charming, Storywood Sanctuary is a place that does exactly what its name implies: takes you into a garden of stories and present a setting in which sanctuary from the pressures of daily life might be found.
Back in June 2026, I received an invitation from Rowyn Mariposa (MzStiX) to visit a new endeavour by her fiancée, Pamela Irelund, the Irelund Museum of American Art. It’s taken me over a month to get around to actually visiting – so my apologies to both Rowyn and Pamela for this.
Located within the Second Norway estate – and in fact little more than a couple of good stone throws from where I have my island home, so there was really no excuse for not visiting sooner, given the museum can easily be reached by boat!) – the Irelund Museum occupies a large, modern building of single level design, partially extended by Pamela herself.
The Irelund Museum of American Art
For those arriving by teleport, the Landing Point is located within the inner fountain courtyard of the museum, and it is here that any exploration should begin. For those arriving by boat, take the steps up from the mooring to the the door at the top of the steps, then follow the red carpet in front of you down to where the courtyard opens up on the right.
In all, 10 areas (labelled as rooms) plus a hallway, present American art from across the country’s modern 250-year history. The art is arranged chronologically by room and the rooms proceed in a clockwise manner from Early American Portraits, Hudson River School and Tonalism (located in a blue room to the south-east corner of the building) through to Cinematic Realism and Political Art, with the courtyard offering the museum’s single piece of sculpture: Steppe by Antoni Milkowski and a large reproduction of Dream Garden by Maxfield Parrish and Louis Comfort Tiffany.
The Irelund Museum of American Art
A highly informative catalogue of the museum’s main displays can be found at the large desk in the fountain courtyard. This provides an introduction to the museum, together with biographical thumbnails of all the artists responsible for the pieces on display, again divided by room.
Designed as a HUD, it is a little large to be opened and read when viewing individual pieces, but it can be minimised easily by clicking the eye-with-a-bar icon within the left and right navigations areas. This will close and reduce the catalogue in size; clicking on the catalogue again will open it at the last page viewed (and will do so, even if detached, allowing interrupted visits to be resumed easily).
The Irelund Museum of American Art
Across the fountain courtyard is the Special Exhibitions room, which at the time of my visit this was hosting Fantastic Dreams and Wistful Reality: Maxfield Parrish and Norman Rockwell. A smaller desk just outside this room offers a catalogue specifically for this exhibition, and which operates on the same basis as the one described above. And, incidentally, you can reach Room 1 of the museum’s exhibition spaces by cutting through this space.
In terms of copyright, all of the works through to 1928 are out of copyright; those after that year are within copyright. However, the museum does not sell any of the images, and all are provided for educational / informational purposes, and intentionally presented in low-resolution, thus helping the museum meet the requirements of fair use as defined for copyrighted works under US law.
The Irelund Museum of American Art
A group has been established for the museum for those wishing to keep up with events and special exhibitions, and the joiner can again be found in the fountain courtyard.
The Irelund Museum of American Art is clearly a personal labour of love, built out of knowledge of the subject. It is also highly informative and a pleasure to visit and tour. Within it is a further demonstration of the ability of Second Life to both bring art to an audience which might never otherwise to be able to appreciate all of the pieces as a single exhibition, and as its ability to inform and educate.
The Irelund Museum of American Art
My congratulations to Pamela on her work, and my thanks to Rowyn for the invitation.