Category: Art in Second Life

Now open on the Green Pavilion 1 platform at Akim Alonzo’s Itakos Gallery, is Bunkers are Us, by Kaiju Kohime. A 3D installation, it is a reflection on modern life, that in part draws on the SARS-CoV-2 pandemic, but casts its net much wider.

All of us need shelter. It can be a house, a tent, a church. But the past few decades we have increasingly isolated ourselves from others in ever more fortified houses with increasing security and locks. Because of the the increasing amount of threats that are bestowed upon us, like wars, climate change, exponential population growth and fast spreading diseases we have become less confident in our fellow human beings. We have retreated behind concrete masks, concrete skins, concrete bunkers.

Our last shelter is our skin. We hide inside our skin. But not only are we fortifying our houses, are we not becoming bunkers ourselves as well?

– Kaiju Kohime

On the platform is a reflection of the above description: three large concrete homes with gun-like slits for windows, together with two smaller bunkers and a cathedral, its original form shown in rusting outline, the building itself having shrunk within the framework as physical representation of the idea of withdrawal away from the world.

The houses contain within them various elements: violins, concrete blocks that might be books, flowers, ladders that climb nowhere… They are perhaps the things we take with us into our solitude in lieu of genuine company, and perhaps – in the case of the ladders and the female form – reminders of the freedoms and companionships we lose in so shutting ourselves off from others.

Projected onto the walls of the building are the words of Proposition 1 from the Tractatus Logico-Philosophicus by Austrian-British logic philosopher Ludwig Josef Johann Wittgenstein (if you do not see the words of the proposition, make sure you enable your viewer’s Advanced Lighting Model (ALM) via Preferences → Graphics). The only one of his works to be published in his lifetime, TLP, as it is often called, was an attempt to identify the relationship between language and reality and to define the limits of science, and is regarded as one of the more significant philosophical works of the twentieth century.

Within this installation, the use of Proposition 1 would appear to be a direct challenge to the manner in which we are all increasingly self-isolating, an attempt to remind us that back contracting inwards, we limit ourselves, that the world is all that is, is becoming ever more finite thanks to our willingness to withdraw and the facts that help us interpret, understand, and live within that world are similarly become more finite, thus limiting our world view even further.

It is symbolism like this, found throughout Bunkers Are Us, that makes this installation provocative, be it through consideration of how our slide towards isolationism – which started well before SARS-CoV-2 reared its head -, or our mistrust of those around us that causes us to convert our houses into castles and has reduced churches from places that welcomed everyone to closed fortresses where only the known few are welcome; or through the manner in which it brings us into contact with Wittgenstein; or simply through the wonder of the mobile sculptures within the smaller bunkers.

With further subtle commentary in the form of the two Animesh figures located at the teleport station (echoes of simplier times when the world was our home?), Bunkers are Us is an installation that pokes at the conscience and grey matter.

SLurl Details

ATL is rated Moderate

• Green Pavilion 1 platform
• Itakos Porject main landing point (use the teleport door within the main gallery foyer)

The Third Eye, curated by Jaz (Jessamine2108), is a new open-air gallery space that opened on July 11th, 2020. Located on a sky platform, the gallery is described as “a place that is designed to showcase art, particles, inspire stories, and offer a quiet place to relax and rejuvenate. It is the culmination of my many dreams – to create a place that nurtures and helps the growth of all types of creative endeavours – be it words, pictures, or particles.”

For the opening exhibition, the gallery features a selection of art by Jaz, entitled Awakening, coupled with Virtual Cities, a selection of pieces by Michel Bechir.

It is only right that I open the gallery with Michiel as the guest artist, as he was the one who introduced me to SL photography.

– Jaz (Jessamine2108)

For Virtual Cities, Michel presents some 18 pieces focused on urban living within Second Life. It’s a rich mix of images spread across Michel’s time as a Second Life photographer, starting in 2009 and extending to the present day. Within them, he captures the many different ways in which cities and living spaces can be represented in-world, from shining cities with gleaming skyscrapers to cities in decay, from Mediterranean waterfronts to the cramped confines of the favela, and from cobble streets to paved sidewalks.

Not only are the pieces here attractive for their breadth of representation of urban spaces, they also hold the eye because of the richness of style and finish they each have.

Sitting across the landing point from Virtual Cities, Jaz offers 21 pieces that see states are something of a departure for her.

The series “Awakening” is about my changing perception of SL – to the possibilities that it offers and to be able to see beyond the surface. I am stepping out of my comfort zone to communicate using the creations of designers rather than use landscapes and avatars. I would like to thank the mesh creators Harry Cover and Karthikeyan Engineer with their quirky and cool creations that helped me grow as an artist.

– Jaz (Jessamine2108)

This is an intriguing and engaging collection of images, rich with colour, each one perfectly framed to draw the eye into it. There are four pieces within this collection that might be called “traditional” landscapes – or at least focus on subjects Jaz has more familiarly covered. However, this doesn’t put them at odds with the rest of the pieces on display, rather it grounds them as a further expression of her art and growth.

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• Third Eye Gallery (Midnight Sanctum, rated Moderate)

Kody Meyers is a Second Life photographer who genuinelyneeds no introduction; his landscape and avatar studies are among the most recognisable at exhibitions across the grid. Nevertheless, it is always a pleasure to witness them on display, and just such an opportunity to do so can be found at Raging Bellls Raging Graphix Gallery.

Having opened in July 11th, the exhibition will run through the next 4 weeks, and presents some 20 pieces of Kody’s work which fully and richly demonstrate the broad approach he takes to his art.

Each picture depicts a story or is a reminder of an experience one can reflect upon when admiring it. As a perfectionist, I take the time necessary to capture the picture, experimenting with different angles, framings and windlights, until the perfect shot is created — the one that comes alive.

– Kody Meyers describing his work

The stories are brought to life not just through Kody’s technical approach to his work, but also through his eye for post-processing. In this, as he notes, he uses a variety of programmes and approaches that allow him to fully tell the story he finds within each image.

To try to describe the pictures in the selection offered in this exhibition would be a waste; each is a genuine work of art that deserves to be seen first-hand, and its story properly allowed to unfold as one witnesses both the complete picture and all of the many details Kody has captured within it and that stand as chapters – or at least lines – within the story.

So rather than me attempt to offer descriptions, do take the time to go as see for yourself – particularly if by some chance you’ve not previously seen Kody’s work. You won’t be disappointed.

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• Raging Graphix Gallery (Heatherwood, rated Moderate)

Running from Friday, July 10th through Sunday July 12th is the Kultivate Dene Gallery’s latest exhibition, Resolution. This is a special 3-day event curated by Tempest Rosca-Huntsman, and forms Dene Gallery’s first exhibition as a part of the Kultivate family.

Some 30 artists are taking part in the event, as follows: Beuanna Banana, Brian2 Werefox, ByrneDarkly Cazalet, CalebBryant Resident, Giselle Chauveau, Inara Pey, Ivyana Szondi, Johannes Huntsman, Kacey Macbeth, Kalina Sands, Ladycharis, Lam Erin, LawrenceD, Morgaine Blackrain, Myra Wildmist, Nugget Ichibara, Paradox Mercury, PinkRayne, Reya Darkstone, Rockcail Resident, Roman Godde, serenaelia, sirspanking, Skip Staheli, Skye Fairywren, Sugarfairy88 Resident, Tempest Rosca, TrishaSrose, Whata Conundrum, & Wicca Merlin.

The event will feature live entertainment across the three days, with the schedule lining up as follows (all times SLT):

• Friday, July 10, 2020:
  • 15:00-16:00: Samuel James.
  • 16:00-17:00: Abby Jaidov.
  • 17:00-18:00: Mavenn.
• Saturday, July 11, 2020:
  • 14:00-15:00: Wolfie Starfire.
  • 15:00-16:00: Jesie Janick.
• Sunday, July 12, 2020:
  • 11:00-Noon: Max Kleene.
  • Noon-13:00: DimiVan Ludwig.
  • 13:00-14:00: Samm Qendra.

About Dene Gallery and Kultivate

Dene Gallery is located in Rosehaven. The gallery is curated by Tempest Rosca-Huntsman and highlights one artist each month. As a part of the Kultivate brand, it joins the Windlight Art Gallery, The Edge Gallery, Kultivate Loft Gallery, Kultivate Signature Gallery, & Kultivate Select Gallery. To mark Dene Gallery’s joining the Kultivate family, Resolution is being held at Kultivate’s home region of Water Haven.

Kultivate’s goal is to promote and support the cultural aspects of Second Life. Kultivate is also the official sponsor and media partner of Team Diabetes of Second Life, an official and authorized team of The American Diabetes Association. Learn more by visiting their website.

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• Resolution Exhibition (Water Haven, rated Moderate)

Gem Preiz, the master of the fractal image, is once again back with a new exhibition of pieces that opened on July 7th.

For those familiar with his work, Journey to the Centre of a Fractal Earth sees him return to familiar territory after his trip into the world of scale city design with Skyscrapers (see: Gem’s Skyscrapers in Second Life) as he presents some 16 fractal images linked by the theme of mineralogy, whilst also touching on some broader themes common to his art.

The core of the exhibit is an exploration of mineral formations, carried out through a hypothetical journey to the centre of the Earth, that we might see them in their natural environs.

Our Universe, whose laws of thermodynamics teach us that its disorder is constantly increasing, nevertheless conceals in some places such extreme conditions that matter is organised in a perfectly ordered way. At the scale of our vision, the optimal arrangement of the atoms produces crystals with flawless geometry and colours entirely determined by the composition and structure of the mineral.

There are a few hundred mineral species on Earth (a few thousand if we include those that the microscope only can reveal), born of the fantastic pressures suffered by the rock in the Earth’s crust, the sudden cooling of volcanic material, or the accumulation of sediments crushed by their own weight. While tectonic movements and volcanoes lava have brought to Man many of these natural treasures (quartz, gypsum, sulphur, obsidian …), many of them were discovered in the depths of the planet only through industrial research or scientific exploration. 

– Gem Preiz, introducing Journey to the Centre of a Fractal Earth

This journey is carried out through the visit of sixteen large rooms, one after the previous, topped and tailed by tunnel-like walks from and to the “surface”. Within each room is displayed one of Gem’s marvellous, multi-panel, high-resolution fractal images generated in the form of a mineral, or rock laced with mineral striate. In an of themselves, they are stunning pieces, their form echoed in the walls and floors of each room, which may also utilise particle effects  an Delain Canucci.

Whilst intended to be representative of mineral deposits ” at the bottom of the most obscure caves and in the most secret veins,” some of these pieces equally have an other-worldly feel to them that brings to mind objects that might be found in deep space. for example, a gold-and-grey comet that catches the light of a star, the outgassing of volatiles forming a bright halo around it. Others suggest not so much crystalline minerals lying deep underground, but fabulous coral formations sitting on the deep ocean floor. Thus, Journey weaves into itself, intentionally or otherwise, those mentioned broader themes that captivate Gem’s thinking, and so often influence his art.

My only slight reservation is with Journey’s general presentation. On the one hand, I could see how travelling through the rooms is intended to reflects on the idea of the great depths and pressures at which minerals can be found / are formed (and of course gives a physical link to the title of Jules Verne’s famous novel used in the installation’s title). But on the other, in travelling through so many rooms of near identical presentation, I couldn’t help but wonder if an alternative, more compact means of delivery couldn’t achieve the same result?

That niggle aside however, for those drawn to fractal art Journey is well worth a visit simply because the framed images are genuinely captivating and elegantly beautiful.

SLurl Details

• Journey to the Centre of a Fractal Earth (Akimori, rated General)