A Thousand Words Coffeehouse and Gallery, March 2026: Janine Portal
In February, I received an invite from Astella Warrigal to visit her gallery, A Thousand Words Coffeehouse and Gallery. It was actually to attend the venue’s grand reopening, which was held on February 22nd, 2026. However, things being what they were for me at the time, I was unfortunately unable to attend that event; but I certainly wanted to make sure I got to see the exhibition of art by Janine Portal which formed a part of the re-opening.
I first encountered Janine’s work back in 2018, an immediately found it captivating. As I noted at that time:
Utilising animations and prims to present remarkable collage pieces with a surrealist edge that are quite captivating to see … some of the most unusual art and effects I’ve seen in Second Life for a while, each piece offering an unexpected view of what might otherwise appear to be and ordinary scene or photo or presenting a melding of ideas and / or narrative that is quite engaging.
– The artful collages of Janine Portal in Second Life
A Thousand Words Coffeehouse and Gallery, March 2026: Janine Portal
This is very much the case with the exhibition of Janine’s work at A Thousand Words Coffeehouse and Gallery, where it can be seen on the upper levels of the building. On display are some 13 collage images, all of them comprising found and manipulated (by Janine) art and photographs, including reproductions of artwork by the likes of William Blake, Hilma af Klint, Richard Diebenkorn, and Second Life photographer Ajax Ogleby.
Janine says of her work:
I’ve been making art in Second Life using a technique that involves layering transparent prims to create works with shifting collage images. In RL, long before I made an account in SL, layered transparent paint to express similar ideas, using many of the symbols you see here.
– Janine Portal
A Thousand Words Coffeehouse and Gallery, March 2026: Janine Portal
Janine goes on to note that her art reflects ideas which have woven their way into her thinking and approach to art ever since her time at art school: ideas of the metaphysical and personal symbols of transformation. This gives her work a layered set of interpretations; whether one views them purely as visually engaging works of art or seeks to find those metaphysical ideas. In this, Janine adds her own view on the art:
On a conceptual level they represent, to me, the endlessly shifting nature of reality, the ways in which we move through time and space and the nature of growth, change, and transformation.
– Janine Portal
A Thousand Words Coffeehouse and Gallery, March 2026: Janine Portal
A genuinely captivating exhibition, one definitely worth the time in visiting.
China Buddha Caves, March 2026 – click any image for full size
Located within Gansu province in western China is the county city of Dunhaung. It sits on the old Silk Road, and forms a cultural and religious crossroads. Founded as a garrison town in 11 BCE, Dunhaung is perhaps now more famously known for its proximity to the Mogao Caves, a system of 500 temples, caves and grottoes some 25 kilometres south-east of the city.
Also known as the Thousand Buddha Grottoes or Caves of the Thousand Buddhas, the network represents, along with other cave systems in the area, some of the finest examples of Buddhist art spanning a period some 1,000 years, the earliest caves having been dug in around 366 CE, initially as places of rest, worship and meditation. However, as time passed, they became a place of pilgrimage, and further caves and grottoes were dug, with the system expanding through until the 13th century, before they were “lost” until the late 19th century.
China Buddha Caves, March 2026
I mention all of this because in his latest artistic installation, London Junker offers us a vision of the Mogao Caves and the beauty of their art, sculptures and design with his China Buddha Caves build, to which he extended a personal invitation for me to visit.
Situated in the snowy uplands of south-western Sansara, the build is initially deceptive to the eye. The Landing Point sits at the head of a descending gorge through which water tumbles and falls towards the sea. A large Buddha sits behind the Landing Point, undoubtedly offering blessing to arrivals, whilst a single grotto with wall murals and three more figures of Buddha sits to one side.
China Buddha Caves, March 2026
A further Buddha can be seen lower down in the valley, together with a shrine and structures built with their backs towards the rising cliffs. A single path runs down the side of the gorge, passing over a long bridge and down stairs to reach a second bridge crossing the waters and provide access to the tall statue of Buddha and the shrine, whilst a second path rises to the lowermost of the structures build against the cliff, and which forms the entrance to the caves proper.
The art and carvings within the Mogao Caves is truly magnificent, and the site fortunately escaped the Buddhist persecutions ordered by Emperor Wuzong of Tang in the ninth century, continuing to be used through until the Yuan dynasty in the 13th century. However, it was during that era that new trade routes started to open, and the use of the Silk Road fell into decline – and with it, the use of the Mogao Caves as a place of pilgrimage. By the mid- 14th century, no new caves were being built, and the site was largely forgotten other than by locals.
China Buddha Caves, March 2026
It was not until the 19th century that the caves were re-discovered. Interest in exploring the ancient Silk Road and uncovering its secrets was initially a goal of western explorers and historians, and this eventually led them to Dunhuang and the caves. However, it was at the start of the 20th century that the greatest work of rediscovery commenced, with the good intentions of one man in particular.
His name was Wang Yuanlu. A Chinese Taoist, he had appointed himself guardian of the caves, and in the early 1900s set about clearing the entrances to many which had become blocked over the centuries, as well to trying to renovate many of the damaged statutes.
China Buddha Caves, March 2026
Most particularly, Wang’s work led to the discovery of a vast trove of manuscripts in what had simply been called Cave 17, but which afterwards was referred to as the Library Cave. Some 1100 scrolls and 15,000 books were found in the cave, together with an estimated 50,000 texts on a range of subjects including philosophy, art, literature and medicine. This discovery brought the Mogao Caves to wider global attention, with a number of foreign expeditions to explore them being mounted – several of which simply carted off whatever they could.
Fortunately, London’s China Buddha Caves suffers none of this looting. Rising up through multiple levels, as is the case at Mogao, they instead offer a captivating interpretation of their physical world inspiration, presenting a rich mix of Buddhist art and history, the walls bearing beautiful murals and paintings, the statuary magnificent in detail and finish. As you rises up through the caves (take your time in exploring, some of the rising tunnels are easy to miss!), you will come across an opening to a veranda located against the cliff and above the main entrance, reflecting a similar, almost pagoda-like structure found at Mogao.
China Buddha Caves, March 2026
Each level becomes more expressive and rich as one ascends, with the upper most and the landing and grotto leading up to it being particularly attention-holding. However, all of the levels capture the beauty and history to be found in the caves at Mogao, and perfectly reflect the beauty of the murals to be found in many of the caves there. In this, I would advise using a PBR viewer in order to fully appreciate this installation, or if you are still pre-PBR, that you enable ALM.
Presenting a glimpse of what is now a UNESCO World Heritage Centre (since 1988), London’s China Buddha Caves offer a superb means by which to catch a glimpse of what is a magnificent centre of Buddhist history and art in the physical world.
Subcutan Art Gallery, February 2026: Sophie de Saint Phalle – Infernal Symbiosis
Sophie de Saint Phalle (Perpetua1010) has recently opened two exhibitions of her work, each of which is also set to words offering both insight and description.
The first, which opened on February 13th at Sophie’s own Subcutan Art Gallery, where it occupies an atmospheric skybox exhibition space. It is entitled Infernal Symbiosis, and perhaps the best way to describe it is a celebration of the meeting of self and nature, and the ability of the latter to remove the noise, the insistent pressure the demons of modern life, and to remind us of our heritage and our being a part of Nature and the world around use.
Subcutan Art Gallery, February 2026: Sophie de Saint Phalle – Infernal Symbiosis
The watercolours were created at the edge of flow— in the forest, beside a narrow creek. Water becomes body; body becomes landscape. Nature and human dissolve their borders and remember their shared origin.
– Sophie de Saint Phalle, Internal Symbiosis
In the darkness of the gallery space, the vibrancy of the 14 abstract paintings is perfectly brought to life, the fluid lines and flowing colours giving a sense of both motion to what are essentially still life images, together with a sense of water-like fluidity. Together they give us a beautiful sense of harmonious intermingling of our humanity and Nature.
Subcutan Art Gallery, February 2026: Sophie de Saint Phalle – Infernal Symbiosis
In this, it is – to me at least – vital to take in the ambience of the gallery space as a whole; within Subcutan, Sophie always takes care to offer her art in terms of an immersive environment, where setting, art and EEP all combine to form an experience to be explored and appreciated. This is very much the case here, the outer lobby of the main hall and the scenes visible through the windows adding creative depth and feeling to the exhibition as a whole.
Sophie’s second current – at the time of writing – exhibition opened on February 19th at ArtCare Gallery, curated and operated by Carelyna. Again occupying a sky-base exhibition space is Yellow Impressions.
ArtCare Gallery, February 2026: Sophie de Saint Phalle – Yellow Impressions
It offers some 13 nude images presented as marble etchings, all of which carry a similar theme of symbiosis and joining – or perhaps understanding might be a better term, as Sophie notes in the text accompanying the exhibition.
As myself became intertwined with the soul structures of others, surface turned into tangible life. In this transition — between inner perception and outward appearance —an image-skin emerges that does not depict, but carries.
– Sophie de Saint Phalle, Yellow Impressions
ArtCare Gallery, February 2026: Sophie de Saint Phalle – Yellow Impressions
That the nudes are what might be termed partial studies – and indeed possibly familiar to followers of Sophie’s work – matters not. Again, as Sophie notes, reduction of the body, the absence of features (e.g. head, or facial features) and focus on specific elements of the human body (e.g. the torso),becomes a method of approach, a means to express the idea of both self and our perception of others becoming intertwined; an energy flow if you will, of a subconscious yet perceptual openness – or perhaps offering – of one to another.
Taken together or individually, Infernal Symbiosis and Yellow Expressions are both shirking and visually engaging, whilst the words accompanying them (touch the exhibition title boards in each case to receive these), allow us to thread the path of the deeper expression and meaning within both.
ArtCare Gallery, February 2026: Sophie de Saint Phalle – Yellow Impressions
February has arrived, and with it all the romance (and frequent commercialisation- although in this day and age, what special holiday or day isn’t a commercial opportunity first? In the UK it only took many stores to open on Boxing Day – the day after Christmas Day if you’re not familiar with the term – for customers to find shelves stocked with love hearts, Valentine’s chocolate selections – and, worse, Easter eggs, fluffy Easter bunnies and Easter bears) of Valentine’s Day.
Fortunately, there are many who are here to offer more fulfilling celebrations of love, romance and Valentine’s Day, including Cica Ghost, who offers a light, fun and engaging view of the month of romance with Oh My Heart.
Cica Ghost, February 2026 – On My Heart
Filled with semi-anthropomorphic hearts, cuddly bears and rabbits, lovable elephants and a Queen of Hearts who is most definitely not of the “Off with their heads!” type. All are gathered within a landscape filled with giant green flowers, looping vines and areas of red-and-black chequerboard patterns, complete tower and wall of red-and-black cubes with blocky rocky upthrusts.
The red heart characters stand on booted feet and appear to be without a care in the world. Their houses are also heart-shaped, whilst the bears and rabbits cuddle red hearts or offer heart symbols to passing visitors. Meanwhile, the Queen of Hearts presides over all from the height of her fairy tale castle up on a mesa reached by stone steps. Black hearts offer dances throughout and sit-points – some obvious, others perhaps not so obvious, so be sure to mouseover! – are also scattered about, this is another light and delightful setting for anyone to enjoy, whether a romantic or not.
Cica Ghost, February 2026 – On My Heart
The setting comes with a quote from humourist, playwright, poet and author Alan Alexander Milne. It was two tomes of his verses – When We Were Very Young (1924) and Now We Are Six (1927) – through which he found his literary métier: writing for children. Thus came the two volumes for which he is perhaps most famous: Winnie the Pooh (1926) and The House at Pooh Corner (1928). Whilst ostensibly written for children, notably his son, Christopher Robin Milne, these two works are rich in observations about human behaviour, gentle truths on how to behave and what in life to treasure. It is from the latter that Cica has chosen her quote:
Sometimes the smallest things take up the most room in your heart.
– A.A. Milne, Winnie the Pooh
Cica Ghost, February 2026 – On My Heart
There is a marvellous depth of truth and meaning in this single sentence; so much so that likely it means something different to many of us. Given this, I’m not about to churn out a litany of interpretations. You can do that for yourself both before and after visiting Oh My Heart. What I will say is that I felt especially drawn to this installation because of the quote: Milne is an author I try to read once every 12-18 months (at least the Winnie the Pooh books). I simply love Milne’s kindness and insights.
So, why not go an enjoy Oh My Heart, and then, if you’ve never read the Milne’s two volumes of Winnie the Pooh’s adventures with his friends in the Hundred Acre Wood, or haven’t read them in a while / as an adult, I urge you to consider doing so as well.
Akimori, February 2026 – Mareea Farrasco: Tapestry
Currently open at the Akimori, a part of the Akipelago complex operated by Akiko Kinoshi (A Kiko), is an exhibition by the talented Mareea Farresco. It is entitled Tapestry, with the subtitle Medieval Fantasy.
Presenting nineteen images, this is a narrative exhibition, unfolding a story of a maiden and her encounter with a travelling troubadour in medieval times. Mixing images of landscapes with images of avatars, the images are designed to be viewed in a specific order, starting with the image of cathedral, located on the far left of the information board listing the names of all 19 pieces. From here, the story progresses past the introductory board and on around the worlds of the exhibition space.
Akimori, February 2026 – Mareea Farrasco: Tapestry
Thus, the pictures progress from the cathedral and through the streets of a medieval town, their ordering suggestive of a walk taken by the maiden, out of the town and past the tall towers and strong walls of a Norman-style castle standing proud on a hill. As they continue around the walls, the pictures introduce us to the maiden with a subtle hit of her love of music, before moving on to her encounter with the troubadour and the blossoming of an apparent relationship – one which we instinctively know will not last.
The images themselves are beautifully processed to give the appearance of paintings produced if not within the period of the story, then possibly by one of the great masters of the renaissance period, the start of which overlapped the end of the medieval. This is particularly true of the images of the unnamed town and its guardian castle, all of which are rich in detail, capturing moments in time. The images of the maiden and her troubadour are equally engaging avatar studies, vividly telling the tale of love and loss (or is that perhaps abandonment?) and the inevitable hurt and loss.
Akimori, February 2026 – Mareea Farrasco: Tapestry
In this, Tapestry appears to offer a story within a story: just how genuine is the troubadour in his feelings for the maiden? Is it a genuine love, or the opportunity for a dalliance as he goes about his travels, singing his songs to whomever will pay him, staying only so long in any one place as meets his needs before his inevitable wanderlust causes him to move on? From the perspective of the maiden, their relationship is real, and she is clearly heartbroken following his adieu and departure. From this, our imagination might build a number of possible tales within the tale, adding a personal depth to the images.
With the exhibition space decorated to match the tone of the images, Tapestry is an engaging and expression exhibition, ideal for art lovers and storytellers.
Akimori, February 2026 – Mareea Farrasco: Tapestry
Nitroglobus Roof Gallery, January 2026: Flossy Nova – Colour of Vulnerability
As I recently noted, there are two exhibitions kicking-off 2026 at Nitroglobus Roof Gallery, operated and curated by Dido Haas. The first – and slightly longer-running in terms of opening date – is by Sydney Couerblanc, as I covered that within Afterimages of Spring at Nitroglobus in Second Life.
The second exhibition, occupying the main hall of the gallery is The Colour of Vulnerability, a striking exhibition of work by Flossy Nova (flo0owl). Like Sydney’s exhibition in the gallery’s Annex, this is a collection of pieces rich in emotive content, but one very different in style to Sydney’s use of narrative as a connecting theme between the images.
Nitroglobus Roof Gallery, January 2026: Flossy Nova – Colour of Vulnerability
Colour is often used to describe mood and emotion, and in some ways this is very much the case within The Colour of Vulnerability; however, through her use of bold, strong colours Flossy not only offers suggestions of mood, but also of self; an expression of state-of-mind when placed within a virtual realm such as Second Life and the freedoms that come with it.
The nineteen images comprising the exhibition border on the abstract in terms of their use of colour, whilst encompassing silhouette-like elements for her avatar; the two combining into a series of expressionist piece which captivate the eye completely. Rather than carrying a narrative thread, each of these images stands on its own; the unifying element being the use of colour.
Nitroglobus Roof Gallery, January 2026: Flossy Nova – Colour of Vulnerability
The colours serve as both backdrops and as expression of mood, whilst also in some suggesting the very aura of life and emotion surrounding the figure they contain. Throughout all of them, Flossy reveals suggestions of both her mood and being in a manner which is both subtle and yet clearly declarative; a fusion of expressiveness matching the interplay of colour and silhouettes.
However we interpret each piece is a matter of personal response and mood. Clues might be found within the titles the artist has given to each work, however I would suggest allowing them to speak to you prior to taking and edit-peek at any of the titles.
Nitroglobus Roof Gallery, January 2026: Flossy Nova – Colour of Vulnerability
A visually engaging exhibition, layered with emotional meaning and reflection.
Inara Pey: Living in a Modemworld 