Category: Reviews

As I continue to play catch-up on things, I’m again covering another art exhibition that has been open for a while but will hopefully remain open for a while longer so that people might enjoy it, as the subject matter is both fascinating and engaging.

The American Scene, presented at Carelyna’s ArtCare gallery complex, is a collection of art and photography gathered and curated from the physical world by Pamela Irelund as a celebration of the American art movement spanning the majority of the first half of the 20th century (in this case 1906 through 1956, to be precise).

This was a period of American art history with saw a reaction against the European modernist movements in art; a time when American artists – painters, photographers writers, etc., – sought to emphasise realism within their work. Within the art movement, this led to the notable rise of two major styles of art: Regionalism (works emphasising realistic scenes of rural and small-town America, particularly during the period of the Great Depression), and Social Realism (realist portrayals of anonymous workers as well as celebrities as heroic symbols of strength in the face of adversity, notably again during the Depression). In addition, the period also celebrated aspects of American culture and life.

Divided into a series of eight themes: Poverty, Realism and Immigration; The Promise of Industry; Distractions and the Jazz Age; Bustling Cities; The Appeal of Rural Life; Loneliness and Yearning; The Solace of Nature, and The Spirit, the exhibition is a veritable tour de force of American art and artistry throughout the period. The 50+ pieces in the exhibition encompass artists whose names may well be very familiar to some, and others perhaps less well known, but no less deserving of exposure.

For the former, one might select Georgia O’Keeffe, regarded as the Mother of American Modernism (although it is fair to say that throughout most of her career she strove to remain apart from the major art movements). She is particularly well represented both through reproductions of her own work and via a 1918 photograph by her husband, Alfred Steglitz, another name that may be recognised. Steglitz was a major promoter of art in the United States and was a major force behind making photography a recognised art form.

Also present within the exhibition is realist painter Andrew Wyeth, represented by what may well be his most recognised work, Christina (1948), a piece which actually inspired Second Life photographer shelly70 to create an entire region around Wyeth’s work. Grant Wood is presented by what might be regarded as his most famous piece, American Gothic (1930), whilst artist, photographer and film-maker Charles Steeler (who, if Georgia O’Keeffe is regarded as the Mother of American Modernism, then he might well be regarded as the Father) is also included, as is Archibald Motley (one of the major forces within, and contributors to, the Harlem Renaissance and the Chicago Black Renaissance, and Frank N. Wilcox and Thomas Hart Benson – both particular powerhouses of American Regionalism alongside the likes of Grant Wood.

However, whether or not the names of the artists are recognised, what cannot be denied is that this is an exhibition that genuinely spans the full breadth of the American Scene art movement, as well as encompassing the work of artists who might not be directly associated with the movement, but whose work – such as with Motley – played a major role in cultural recognition and growth.

In putting this exhibition together, Pamela has shown considerable care in her selections of art and artists – and in her respect for copyright. None of the pieces are offered for sale, regardless of their legal copyright status, and most are intentionally offered as low resolution images, with visitors encouraged to seek individual pieces on-line if they wish to see them at higher resolutions. However, “low resolution” does not mean the reproductions offered lack detail; again, care has been taken to show them at a size and format in which they can be appreciated though gentle camming through the exhibition.

In addition, Pamela also provides a highly informative notecard catalogue to the exhibition, and I highly recommend visitors take a copy: it not only offers information on the exhibition, its purpose and the period it represents, it also offers tidy thumbnail biographies of the artists presented within The American Scene, providing further insight to the period and the art.

In all, an excellent, and well-presented exhibition which brings an oft-overlooked period of art history.

SLurl Details

• The American Scene, ArtCare Galleries (Emotion, rated Moderate)

We’re fast approaching the end of April 2024, and I’m still playing catch-up on blogging (house renovations are SO much fun… or so some say!); so before the month goes *poof* in its entirety, I’m going to use this piece to squeeze three exhibitions into the one article. My apologies to the artists for doing so, as each of the three is really worthy of extended consideration in its own right, but I’m sure some readers will find the fact this article avoids my longer diatribal (if only that were an actual word…) meanderings into my subjective thoughts as to meaning and interpretation!

Fortunately, the three exhibitions I’m referencing are hoisted at the NovaOwl Gallery, operated by Uli Jansma, Ceakay Ballyhoo & Owl Dragonash, making visiting them a breeze (just accept the local Experience to hop between the gallery levels if you haven’t done so previously). They feature the work of three noted Second Life artists, Carelyna, Leonorah Beverly and Sina Sousa.

Located within both halves of the ground level gallery at NovaOwl is A Matter of Perspective by Sina Sousa, a collection of 12 pieces (including the small one mounted on an easel!) which – as the exhibition’s name suggests – offers a range of perspectives on life and the times in which we live.

Involved in Second Life since 2012, Sina has built a reputation for presenting works with contain both emotional subtext and relate to matter of identity – be it for the individual, group, or with society at large – whilst often mixing 3D elements in with her work when exhibiting it.

Such is the case with A Matter of Perspective. Here, strikingly presented as visual essays, Sina invites us to consider matter of identity in the modern world, life and the inevitability of death (and not just physical death, I would suggest, given the presentation of Memento Mori) and the times we are currently living through.

As is always the case with Sina, the images very much speak for themselves, and so I’m not going to overlay perceptions by wittering on about them further here!

Occupying NovaOwl’s Sky 1 gallery is Seen Through My Eyes, the most extensive of the three exhibitions, comprising some 27 images by Leonorah Beverly.

Presented within a space which Leonorah has added décor reflective of her love of steampunk and the exotic, Seen Through My Eyes offers a highly personal journey through Second Life, the images framed and rendered as paintings, the majority in colour, although four are presented as quite marvellous monochrome pieces.

Throughout this collection there is a wonderful sense of that these are lavish illustrations that were produced as a part of some Second Life equivalent of a Victorian or Edwardian era of a Grand Tour, and which have now come to be exhibited in their own right. This gives the exhibition something of a classic feel to it, as well as honouring the personal nature of Leonorah’s view of SL as a place to be visited and appreciated.

Located on the lowest floor of NovaOwl’s Sky #2 gallery, Carelyna presents Moonchild, a series of six captivating images which coupled with text elements occupying the wall spaces alongside them. The latter are very much integral to the exhibition, offering as they do a cyclical poem in blank verse with no definable start or end, but rather linking the images in an unending loop. Together, words and images offer reflections on love and romance, and the role of the Moon in both.

As is always the case with Carelyna’s work, the images are hauntingly beautiful in their rendering and evocative in their narrative. They stand both on their own as paintings, whilst also being perfectly intertwined as reflections of the poem’s endless cycle as one gazes around the room. Where you start makes no difference, each image and stanza opens the door by which one can travel through the images and poem and savour her visual meditations on love and romance.

Three superb Second Life artists presenting three imaginative and evocative exhibitions all within one gallery hub – so don’t miss out and hop on over the NovaOwl before these exhibitions draw to a close.

SLurl Details

• NovaOwl Landing Point (Novatron, rated General)

Kerupa Flow returns to Nitroglobus Roof Gallery through April and early May 2024 with a new 2D and 3D art exhibition entitled Cage.

I’ve followed Kerupa since 2015, and have always been fascinated by her art, incorporating as it just multiple techniques and approaches, with her work with a digital tablet and pen being particularly striking, whether offered as monochrome or colour pieces. Narratively rich, her work does not necessarily require a thematic device on which to hang, although she does often present thematic exhibitions (her 2019 Hydrosphere, also at Nitroglobus, and which I wrote about here being a case in point).

Cage is a further thematically-designed exhibit, again combining Kerupa’s distinctive, narrative 2D work with 3D pieces she has created – some of which have appeared elsewhere but here are given new twist. Kerupa describes the theme of the exhibition thus:

Is the world in a trap? Because, look, there’s a cage. Can you see who is outside and who is inside? What colour am I?
Am I still a human? Is life still there?

– Kerupa Flow, Cage, April 2024

Exactly how this might be interpreted is entirely a matter of choice. Dido, for example, expresses as a reflection on being trapped in our contemporary world – and there is nothing “wrong” or otherwise “incorrect” in that assessment; there is much within Cage that does offer commentary and reflection in that direction.

My own interpretation is perhaps more personal, as it were – or perhaps more individually emotional might be a better term, as Cage offers to me a reflection and essay on the nature of relationships – all relationships, be they for love or friendship, or borne of professional or social interaction – and the manner in which they can become both traps and cages where the caged and the “free” is never static nor obvious, but which changes through the dynamic fluidity of the relationship – and the sometimes bestial nature of the human psyche.

As Rousseau noted in Of The Social Contract, Or Principles of Political Right (although not perhaps in the context I reference it here):

L’homme est né libre, et partout il est dans les fers. Tel se croit le maître des autres, qui ne laisse pas d’être plus esclave qu’eux.

Or to put it another way – we are all born into the freedom of innocence, but all too quickly we become enslaved by cages of convention be they imposed by family or society or the need to earn an income or the hierarchy of the workplace or place of worship or whatever. Our interactions are transactional; all too often driven by expectation as much as any genuine altruism; even in the most loving of relationships or closest of friendship there is always an element of selfishness. Thus, the question does become – as Kerupa asks in her introduction to the exhibition – who is actually caged and who is the cager?

I see these ideas reflected in the fact that many of the pieces offered in Cage resonate with ideas of relationships (or interactions – take your pick): Not Just Me; Not Just You; I Won’t Let It End; Face to Face To; Connected; Crystal in the Sand; whilst others suggest outcomes from interactions / relationships or the dangers / risks inherent within them.

Take Karma, for example, and the irony and (at time) intentional hurtfulness in which the term is offered; or Shall I Bite You? This latter particularly seems to offer a visual antonym to the phrase never bite the hand that feeds you, containing as it does the warning that the hands than care for us or which guide and nurture us or offer us the means to care for ourselves through the provision of work or whatever, can also frequently be the hands that snap at us as fortunes and moods turn. Thus comes a further feeding into the ideas of being seen as human and treated as such, as again eluded to by Kerupa in her introduction to Cage.

Here, as well, is where Dido’s description of Cage comes to the fore. The recognition that  – now more than has perhaps been the case in recent decades – there is a growing willingness to marginalise, cage, trap, on the basis of purely binary outlooks and desires to “other” those with whom we disagree or see as failing to conform for the strictures we believe to the “right” or “proper”. But when such attitudes and bigotry do arise – who is truly the one caged?

Beyond this, Cage offers another eye-catching presentation of Kerupa’s talent as a digital artist, and her expressiveness as a 2D and 3D creator of art.  As such, Cage offers a lot to see and enjoy, even without having to plumb the depths of the exhibition’s potential for interpretation, making it another at Nitroglobus that should not be missed by anyone with an appreciation of art on Second Life.

SLurl Details

• Nitroglobus Roof Gallery (Sunshine Homestead, rated: Moderate)