Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week through to Sunday, June 2nd, 2024
This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:
It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy. This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
Note that for purposes of length, TPV test viewers, preview / beta viewers / nightly builds are generally not recorded in these summaries.
Official LL Viewers
Release viewer: 7.1.6.8745209917, formerly the Maintenance Y/Z RC ( My Outfits folder improvements; ability to remove entries from landmark history), dated April 19 and promoted April 23 – No Change
Cayla (YumiYukimura): Monochrome Memories, June 2024
Cayla (YumiYukimura) invited me to visit her latest exhibition at Saint Elizabeth’s Studio and Gallery in Second Life, which opened on Monday, June 3rd, 2024. Entitled Monochrome Memories, and with the sub-title of Shades of Adolescence, its an exhibition that is somewhat personal for Cayla and which has – being frank – drawn mixed feelings from me on viewing it.
The personal aspect of the exhibition comes from the fact it is rooted in a physical work project Cayla undertook, as noted in the her introduction to the exhibition:
When I was a young teacher and photographer, I was invited to participate in a group exhibition at a prestigious local art gallery. I had to develop, process, mat, and frame the photographs in my own, one person, professional darkroom. During my free prep periods, at school, I would select a student, take them outside, and have them self pose against a wall of the school building dressed in their everyday attire. This was during the 1970s and 1980s.
Unfortunately, all of my original photographs were destroyed in a flood, including the negatives. The AI-generated pictures presented here evoke memories of those I captured during that time. Just like the originals, these AI pictures are in black-and-white.
Cayla (YumiYukimura) on Monochrome Memories
Cayla (YumiYukimura): Monochrome Memories, June 2024
Cayla also note that during that original exhibition, several of the artists commented on how her images reminded them of the black-and-white photography of Indiana-born and Arkansas-based photographer Mike Disfarmer (1884-1959). He spent a good portion of his adult life living and working in a small photography studio where he would create and sell images of the local townsfolk and those from the surrounding area. As a working photographer, selling set of three photographs at 50 cents, Disfarmer never really garnered much attention during his life – and this might have remained true following his death, but for the 1970 discovery of a cache of his original glass negatives still located with the premises of his former studio.
Carefully catalogued, restored and preserved, these negatives formed the basis for two exhibitions of Disfarmer’s photography – and catapulted him into the realm of well-regarded and celebrated Outsider Artists, his ability to portray the lives of everyday folk in a starkly realistic manner which has come to symbolise life in the mid-west of the United States in the middle of the 20th century.
Cayla (YumiYukimura): Monochrome Memories, June 2024
Within Monochrome Memories, Cayla presents a collection of AI generated pieces which seek to both re-capture the core theme of her original physical world exhibition in that the subjects are (as per the exhibition’s sub-title) predominantly young / adolescent subjects pictured against a wall, whilst mixing-in a touch of Disfarmer in that that all carry either a neutral or (in some cases) slightly dour expression. In this way – and again like Disfarmer – they might be said to offer a stark, unblemished view of people joined not by art, but by the environment in which they live; thus offering a collective snapshot in time.
There is much that is attractive about this collection in its own right, as well as in the manner in which it seeks to offer an echo of a former display and present a reinterpretation of Disfarmer’s approach to photography. For example, I particularly liked the subtle use of self-portraiture (in terms of Cayla’s Profile image avatar) within the collection, and the little touches of humour (the bearded “JC” standing against a wall and reading a Bible-like tome and with a church steeple visible behind him, for example).
Cayla (YumiYukimura): Monochrome Memories, June 2024
That said, I will admit that the very fact these are AI images at their heart gave me issues; I have an admitted ambivalence towards such art for many reasons – including the way in which I feel it can all too easily detract from an artist’s intent more than add to it. Here, for example, it was just a handful of images that kept demanding my attention; not because of the artistry or narrative evident in them, but because they looked to me as if the AI tool had simply lifted from photographs of Tilda Swinton, Bob Dylan and James Dean, Phil Lynott and others. Whilst not Cayla’s fault, this reaction lifted me away from an appreciation of her work and into the realm of pondering the merits of AI tools – and for that, I apologise to her.
Nevertheless, I do see this as an exhibition worthy of viewing, and thus commend it to you.
A depiction of China’s Chang’e 6 mission landing on the far side of the Moon, June 1st (UTC), 2024. Credit: CCTV
China’s sixth robotic mission to the Moon successfully touched down on the lunar far side at 22:23 UTC on Saturday, June 1st, marking four out of four successful landings on the Moon (the early Chang’e missions being orbiter vehicles).
Chang’e 6 is the most ambitious Chinese lunar surface mission yet, charged with placing a lander and rover on the Moon, collecting samples from around itself, and then returning those samples to Earth for analysis by scientists around the world. It’s not the first sample return mission to the Moon – nor even the first by China; that honour went to the previous surface mission, Chang’e 5. However, it will be the first lunar mission to return samples gathered from the Moon’s far side and from the South Polar Region of the Moon, which is the target for human aspirations for establishing bases on the Moon, as currently led by China (the International Lunar Research Station (ILRS) project) and the United States (Project Artemis).
As I’ve previously noted, the mission – launched on May 3rd – took a gentle route out to the Moon and comprises four elements: an orbiter charged with getting everything to the Moon and bringing the sample home; and lander responsible for getting the sample gathering system, the sample return ascender and a small rover down to the Moon in one piece; the ascender, charged with getting the samples back to lunar orbit for capture by the orbiter, and the returner, a re-entry capsule designed to safely get the samples through Earth’s atmosphere and to the ground.
China’s ability with its robotic landers is impressive. Chang’e 6, for example, carried out its landing entirely autonomously – the only way for it to communicate with mission control is via two Queqiao (“Magpie Bridge-2”) communications relay satellites operating in extended halo orbits around the Moon and with a time delay that while measured in seconds was still too long for mission control to manage the lander directly.
Instead, the vehicle used a variable-thrust motor to descend over its target landing location close to Apollo crater. On reaching an altitude of 2.5 kilometres, the vehicle started scanning its landing zone using imaging systems to find an optimal landing point and then continue its descent towards it. Then at 100 metres altitude, the vehicle entered a short-term hover and activated a light detection and ranging (LiDAR) system alongside its cameras to assess the ground beneath and around it and manoeuvre itself directly over the point it deemed safest for landing.
Following landing, mission control started a thorough check-out of the lander’s systems, including the sample gathering scoop and drill in readiness for operations to commence. The first order of business will be to gather up to 2 kg of surface and subsurface material for transfer to the ascender vehicle, which could be launched back into orbit within the first 48 hours of the start of operations.
An artist’s rendering of a Change 5/6 lander on the Moon’s surface (the craft being almost identical), the ascender vehicle sitting on top of it. Credit: China News Service
As well as this, the lander will carry out an extensive survey of its landing zone, in which it will be supported by its mini-rover. The latter is apparently different to the Yutu rovers carried by Chang’e 4 and Chang’e 3 respectively, being described as an “undisclosed design”. Overall mission time for the lander and rover is unclear, but will be at least a local lunar day.
Chang’e 6 marks the end of the third phase of China’s efforts to explore the Moon. The next two surface missions, Chang’e 7 (2026) and Chang’e 8 (2028) form the fourth phase, and will be geared towards preparing China to undertake its first crewed landings on the Moon in the early 2030s, and with the development of a robotic base camp on the South Polar Region which can then be extended into a human-supporting base.
Starliner Hits Further Delay
June 1st was the latest target launch date to be missed by the Boeing CST-100 Starliner on its maiden crewed flight after a computer issue caused the attempt to be scrubbed just under 4 minutes prior to a planned 16:25 UTC lift-off.
As I’ve been reporting over the last few Space Sunday updates, Boeing and NASA are attempting to clear the “space taxi” designed to fly crews to and from orbiting space stations for normal operations by having it complete a week-long flight to, and docking with, the International Space Station (ISS). However, the vehicle and its launcher, the veritable Atlas V-Centaur combination, have hit a further series of hitches.
An image captured from one of the video camera at Launch Complex 41 (LC-41), Cape Canaveral Space force Station, showing the Boeing CST-100 Calypso sitting atop its Atlas Centaur V-N booster with just under 8 minutes to go in the countdown towards the June 1st launch attempt, and just under 4 minutes out from the GLS system aborting the launch. Credit: NASA / ULA
If there is light at the end of the tunnel, it is that this and one of the previous causes for a launch delay sit not with the Starliner vehicle, but with a ground-based computer system or with the launch vehicle’s Centaur upper stage respectively. In the June 1st launch attempt everything was proceeding smoothly right up until some four minutes prior to launch, when there was an apparent error in one of the Ground Launch Sequencer (GLS) computers housed within the launch pad.
The GLS is a triple redundant system charged with overseeing all the actions the launch pad must make in sequence with the launch vehicle at lift-off. These include things like shutting off vent feeds from the space vehicle through the umbilical support system, separating and retracting the umbilical systems as the vehicle lifts off, and firing the pyrotechnics holding in place the launch clamps keeping the vehicle on the pad, and so on.
These events have to happen rapidly and in a precise order, and all three GLS computers must concur with themselves and one another that everything is set and ready and they can collectively give the command for the launch to go ahead as the countdown reaches zero. In this case, one of the three GLS systems failed to poll itself as rapidly as the other two, indicating it had a fault in one of its subsystems. Such an issue is regarded as a “red line” incident during a vehicle launch, and so the GLS computers triggered an automatic abort call, ending the launch attempt.
Mission commander Barry “Butch” Whitmore and pilot Sunita “Suni” Williams depart the Neil A. Armstrong Building at NASA’s Kennedy Space Centre before boarding the crew bus that would take them to neighbouring Canaveral Space Force Station and their CST-100 starliner. Credit: John Raoux via Associated Press
United Launch Alliance (ULA) who operate the launch pad and the launch vehicle, traced the fault to a single card within one of the GLS computers, and initially hoped to perform a rapid turn-around swap/out so as to have the pad ready for a further launch attempt on Sunday, June2nd. However, at the time of writing, it appears the launch has now been postponed until no earlier than Wednesday, June 5th.
Orion: Heat Shield Woes
On May 2nd, 2024, NASA’s Office of Inspector General (OIG) released a report titled NASA’s Readiness for the Artemis 2 Crewed Mission to Lunar Orbit, a determination of the space agency’s readiness to undertake its circumlunar crewed Artemis 2 mission currently slated for 2025. It did not make for happy reading for some at NASA.
In particular, the report notes that following the Artemis 1 uncrewed flight test around the Moon in November / December 2022 the vehicle’s heat shield suffered numerous issues despite carrying out its primary role of protecting the craft through re-entry into the atmosphere to allow it to achieve a successful splashdown at the end of the flight.
November 28th, 2022: an image capture by a camera mounted on one of the solar arrays of the Orion MPCV of Artemis-1 as it reaches its furthest distance from Earth (432,210 km) and well beyond the Moon. On December 5th, the craft passed around the Moon at an altitude of just 128 km, where it performed and engine burn to start it on its way back to Earth. Credit: NASA
The heat shield is a modern take on the ablative shielding used on capsule-style space vehicles, as opposed to the thermal protection systems seen on the likes of the space shuttle and the USSF X-37B, SpaceS Starship and Sierra Space’s upcoming Dream Chaser. The latter are designed to absorb / deflect the searing heat of atmospheric entry without suffering significant damage to themselves. Ablative heat shields however, are designed to slowly burn away, carrying the heat of re-entry with them as they do so.
However, in Artemis 1, the heat shield – which should “wear away” fairly evenly (allowing for the space craft’s overall orientation) – showed more than 100 instances where it in fact wore away very unevenly, in places leading to fairly wide and deep cavities pitting the heat shield, potentially pointing to the risk of the structure suffering a burn-through which might prove catastrophic.
NASA and heat shield manufacturer Lockheed Martin have not been unaware of the problem; they have been working to try and locate the root cause(s) for well over a year; however, the OIG shone a potentially unwelcome light on the situation, both highlighting the extent of the damage – something NASA had hitherto not revealed publicly – and also drawing attention to additional issues that collectively threaten the agency’s attempt to try an complete the Artemis 2 mission by the end of 2025.
An image captured from a camera inside the Orion capsule during atmospheric re-entry, December 11th, 2022. Black lumps of material torn from the heat shield, rather than being ablated, can be seen in the vehicle’s wake. Credit: NASA
The additional issues include the fact during the Artemis 1 uncrewed flight, problems saw in Orion’s power distribution system which lead to electrical power being inconsistently and unevenly delivered to many of the vehicle’s critical flight systems. Again, NASA has stated the power issues issues were the result of higher than expected radiation interference during the Artemis 1 flight, and has sought to implement “workarounds” to operational procedures for the vehicle, rather than addressing the problems directly – something which has drawn a sharp warning from the OIG:
Without a permanent change in the spacecraft’s electrical hardware, there is an increased risk that further power distribution anomalies could lead to a loss of redundancy, inadequate power, and potential loss of vehicle propulsion and pressurisation.
– OIG Report into the Orion MPCV flight readiness for Artemis 2
Following the release of the OIG report, NASA responded with what can only be called a statement carrying a degree of petulance within it, with associate administrator for Exploration Systems Development Mission Directorate Catherine Koerner apparently referencing the OIG’s report as both “unhelpful” and “redundant” – an attitude which raised eyebrows at the time it was issued.
In this, some at NASA might have been angered by the OIG not only underlining problems they have been struggling to deal with, but by the fact the report included images showing the extent of the damage to the heat shield which until the OIG report, has remained out of the public domain – and they are rather eye-popping.
Two of the official NASA images showing the severe pitting and damage caused to the Orion MPCV heat shield following re-entry into Earth’s atmosphere at 36,000 km/h at the end of the uncrewed Artemis 1 mission, December 11th, 2022. These were made public within the NASA OIG report on the readiness or Orion for the Artemis 2 mission which the agency has said will take place by the end of 2025. Credit: NASA / NASA OIG
In the wake of the OIG report and NASA’s somewhat petulant response, Jim Free, the NASA associate administrator in overall charge of the agency’s ambitions to return to the Moon with a human presence has stepped into the mix, stating the heat shield issue will now be additionally overseen by an independent review panel charged with assisting both NASA and Lockheed Martin and guiding them towards a solution that will hopefully rectify the problem and safeguard the lives of those flying aboard Orion in the future. But whether this result in the mission going ahead in 2025 or being pushed back into 2026 remains to be seen.
Dear Moon – We’re Not Coming
In what comes as no surprise, Japanese billionaire Yusaku Maezawa has cancelled his booking to use a SpaceX starship to fly him and eight others around the Moon and back to Earth. First announced in 2018, the flight – called “dearMoon” – was seen by Maezawa as an “inspirational” undertaking that would see him and a mix of artists, musicians and writers make the trip and then produce pieces of work based on their experience. It was announced with great fanfare in 2018, with the flight slated for 2023 – which, as I noted at the time, just wasn’t going to happen.
I signed the contract in 2018 based on the assumption that dearMoon would launch by the end of 2023. “It’s a developmental project so it is what it is, but it is still uncertain as to when Starship can launch. I can’t plan my future in this situation, and I feel terrible making the crew members wait longer, hence the difficult decision to cancel at this point in time. I apologise to those who were excited for this project to happen.
– Statement from Yusaku Maezawa, June 1st, 2024
The dearMoon crew (with two back-ups). Left to right: Kaitlyn Farrington (USA – backup); Brendan Hall (USA); Tim Dodd (USA); Yemi A.D. (Czechoslovakia); Choi Seung-hyun (South Korea); Yusaku Maezawa (Commander – Japan); Steve Aoki (Pilot – USA); Rhiannon Adam (Ireland); Karim Iliya (UK); Dev Joshi (India); and Miyu (Japan – back-up)
At the time the announcement of the flight was made in 2018, starship hadn’t even flown, so the idea the entire system could be designed, finalised, tested, flight, achieve a rating to fly humans and be capable of making a trip around the Moon and back was nothing short of a flight of fancy – which is why, in part, that little mention of it has been made since. However, the mission concept served to boost Starship / Super Heavy in the public eye and bring and bring undisclosed (but described by Elon Musk as “very significant”) sum of money to SpaceX.
It’s not clear if the money has or will be refunded to Maezawa, who subsequently turned to more conventional means to reach space, flying aboard a Soyuz vehicle as a “space tourist” to spend 12 days at the ISS in December 2021.
The 2024 Second Life Hair Fair is opens on Saturday, June 1st and runs through until Sunday, June 16th, 2024. As with previous years, is being run to raise money for Wigs for Kids, with every purchase seeing a percentage donated to the cause, with the Bandana booths and Donation kiosks donating 100% of all proceeds received.
As with recent years, the event takes place across six regions, appropriately called Foils, Brunette, Streaks, Noirette, Redhead and Blonde, laid out in a block of six, with Foils, Brunette and Streaks to the north and Noirette, Redhead and Blonde to the south, separated by an intervening stream. The landing zones for the regions form decks spaced along both banks of the stream, both helping to lighten the load of arriving avatars and providing vantage points from which those (such as myself) who prefer to do so, can cam-shop without necessarily having to wander the stores.
Hair Fair 2024
As is usual for Hair Fair, the shopping regions are wisely lightly decorated in order to minimise viewer-side lag that might otherwise be created by having a significant amount of extra object and texture rendering. For those who enjoy perusing stores directly, the broad boardwalks ensure there is little chance of bumping into others, whilst those who might tire of walking can use one of the rezzers located along both boardwalks to rez a sittable “bus” and ride the length of the walkways.
The list of participating merchants can be found on the Hair Fair website, while for those who may not find something they wish to purchase, donation kiosks are available to help support Wigs for Kids, or there are the Bandana Booths, one located in Foils and the other in Blonde. within them, visitors can purchase a bandana or a Hair Fair Hare companion (all proceeds on both to Hair Fair), and learn about the history of the Hair Fair Bandana Day & booths.
Fair Fair 2024
About Wigs for Kids
For more than forty years Wigs for Kids has been providing hair replacement systems and support for children who have lost their hair due to chemotherapy, radiation therapy, Alopecia, Trichotillomania, burns and other medical issues at no cost to children or their families. The effects of hair loss go deeper than just a change in a child’s outward appearance. Hair loss can erode a child’s self-confidence and limit them from experiencing life the way children should. With an injured self-image, a child’s attitude toward treatment and their physical response to it can be negatively affected also.
Wigs for Kids helps children suffering with hair loss look themselves and live their lives. Families are never charged for the hair replacements provided for their children; Wigs for Kids rely completely on both the donation of hair and / or money to help meet their goals.
ONCEAGAIN Gallery and region, May 2024 – click any image for full size
While writing about Splash the Gouache, the May / June 2024 exhibition by Onceagain (Manoji Yachvili) at Nitroglobus Roof Gallery (see: Splash the Gouache at Nitroglobus in Second Life), I realised it had been a while since I last visited Onceagain’s gallery. At the same time I learned that she holds her region open to public visits, and so I made a mental note to hop over and pay another visit as soon as time allowed.
That time turned out to be sooner rather than later after Onceagain contacted me to act if I would pop over and photograph the region in its current form, ahead of her closing the region for a summer make-over.
ONCEAGAIN Gallery and region, May 2024The invite was offered without any request for me to blog the region- Onceagain was extremely generous in her comments about my efforts in photographing Second Life regions – but having spent time wandering through the landscape, I felt it more than worth the time to write about, and I believe that Onceagain is going to hold-off closing the region for its makeover for a few more days so that people can see it as I’ve written about it here.
The first thing to note about the setting is that it is a place that freely mixes art – Onceagain’s work as well as pieces by other artists and photographers active in Second Life – with landscaping; as such those familiar with exploring countryside and similar settings in-world should not expect the region of have a central theme or styling; rather, it should be enjoyed for its own innate beauty and for the art within it.
ONCEAGAIN Gallery and region, May 2024
The landing point is located on the south side of the region, within a warehouse-like building which presents the first confirmations of the artistic lean, within images and pieces by a number of SL artists. Also to be found here is the teleport up to the main gallery space. The latter is going through a state of flux at the moment as Onceagain makes changes; nevertheless the range of art on display is more than worth the time taken to visit.
Outside of the landing point the landscape sits under the custom EPP setting, which I would suggest is the best way to view everything (World → Environment → Use Shared Environment), although admittedly, I’ve blended skies in the images used here.
ONCEAGAIN Gallery and region, May 2024
Where you wander once you do set out is simply a matter of letting your feet take you towards whatever catches your eye; scattered across the landscape are several more buildings which are home to displays of art, whilst 3D pieces can be found outdoors as well as indoors.
The art offered throughout is captivatingly broad, but I will confess to being particularly drawn to a collection of Onceagain’s own work located within a raised building on the east side of the region. Here she has used her art to illustrate a series of poems (touch each picture for a copy of the poem it represents). Alongside of this (figuratively speaking, as the two are in different buildings) is another selection of pieces by Onceagain which frame quotes on art by artists.
ONCEAGAIN Gallery and region, May 2024
All of the buildings across the region are open to the public, with the possible exception of the house located in the north-west corner. Whilst not formally marked as private, it is a visual ode to the kind of home Onceagain would love to have in the physical world; a place set behind hedgerows and at the end of a well-set Zen garden.
Sitting within its own parcel, the house combines a place to live with a home studio any artist would probably love to call home. As it is separated from the rest of the setting by hedgerows and gates, I would advise staying outside and gently camming around if you want to take a peep, rather than potentially intruding. That said, the Zen garden is available to spend time in, and makes for a restful space in which to spend some time.
ONCEAGAIN Gallery and region, May 2024
One of the reasons I found the region so inviting on a personal level lay not only in the flow of the landscape and the blending of nature and art, but also in the fact that Onceagain and I share a similar taste in design aesthetics and Second Life creators. We both have a fondness for the work of Alex Bader, Sasaya Kayo, Kriss Lehmann and Krystali Rabini and for the architecture of Marcthur Goosson – all of whom are represented within my main island home. Thus, in walking through the setting, I felt a certain kinship, although her region and my island are vastly different in terms of look and feel.
Calm, inviting and with a superb selection of art, Onceagain’s gallery and region is well worth a visit by anyone appreciative of art, photography or simply visiting a creative, well-designed region in Second Life.
Currently open within the Nitroglobus Roof Gallery Annex, operated and curated by Dido Haas, is a fascinating mixed-media exhibition of art by Onceagain (Manoji Yachvili). It brings together gouache painting, Second Life avatar photography and software post-processing to produce a series (or should that be part of a series, given this is apparently not the full collection?) of 16 utterly engaging pieces of the artist calls Splash the Gauche.
As a self-taught artist, Onceagain has a creative range to her work that is as impressive as it is visually engaging. She notes in her own introduction to A Splash of Gouache, that part of the inspiration for the pieces contained in this exhibition came by way of having recently completely a course in tempera painting whilst also experimenting software tools focused on painting and drawing, before going on to state:
So I took some photos of my avi on SL and then post-produced them with this software and printed them on watercolour paper, giving them some real touches. I’m old school, I need to experiment first hand by touching and not just looking at what I’ve produced on a monitor and I often hang what I like on the walls of my home … The mix between three media: SL, SW and RL seemed like an interesting path to experiment and I simply enjoyed working on this.
For those not familiar with them, tempera and gouache are somewhat similar techniques, each with a very long history. They consist of combining pigments with a water-soluble binding agent (often egg yolk in the case of tempera, or gum arabic in the case of gouache). Both are long-lasting, and can infuse the paper on which they are painted whilst being very opaque when dry. Tempera is perhaps the faster drying of the two, with gouache capable of being moistened again to dry in a matte finish.
Within Splash the Gouache – the title presumably referring to the overall finish to the pieces in the collection – Onceagain presents a series of avatar studies, some of which feature sufficient nudity to potentially be considered NSFW. All of them have a feeling watercolour lightness combined with the gouache aspect of lighter tones appearing to have perhaps dried darker than than they had originally been, and the darker tones similarly lighter. This gives all of the pieces a blending of colour and tone that – even in those leaning towards darker tones and shades – have a certain lightness of being about them; a sense of life and vitality as the eyes are inevitably drawn to the figure within each piece.
Also present within each picture – again in part thanks to the combining of technique and the use of colour as much as the subject’s pose – is a sense of emotion and / or reflection of mood which more traditional means of imaging and portrayal might not so easily convey. There is narrative within each piece, although what that narrative might be is likely to vary according to the eyes viewing the pieces. In all they are tactile in the manner in which they hold the eye and mind – which is not unfitting, given Onceagain’s own preference for making physical contact with her art, rather than just rendering on a monitor screen.
Running through to the latter part of June 2024, Splash the Gouache is well suited to the large image format utilised at Nitroglobus, allowing us to fully appreciate the beauty of the pieces and Onceagain’s mastery of both her art and her use of technology. Thoroughly recommended.