Category: Art in Second Life

Artfully Yours is the name Sandi Peterson has given to her gallery space in Second Life, where she displays the work of invited artists as well as presenting some of her own 3D artwork.

For June, the gallery presents the work of five artists under the umbrella title The Dynamic Edge, which Sandi defines as:

We live in a world of “edges”. We think of the edge of twilight, at the edge of one’s seat, falling over the edge, or the cutting-edge of an idea. As the price of seashore homes will attest, we love to live on “edges”. The artists in The Dynamic Edge explore different ways that this concept expresses itself: the edges between places, choices, times, and spiritual realms.

The lower floor of the gallery presents a joint exhibition by John (Johannes Huntsman) and Tempest Rosca-Huntsman (Tempest Rosca) entitled Vintage, and which “shows us ‘edges’ of our perceptions of time by showing vintage/antique things viewed through the ever changing modern eye.”

Tempest is an accomplished fashion orientated / blogging photographer who has been extending her boundaries and style. Here she presents a series of landscape images from Second Life that, through their subjects, hook directly into the over-arching theme not by focusing on what we might classically regard as “vintage” but by focusing on their evidenced age and careworn existence. Using a rich palette of colour, she adds a depth of warmth to each of them, a warmth that gives them a sense of invitation whilst highlighting their natural beauty that might otherwise pass unnoticed.

John’s pieces focus on what might be called the more “traditional” aspect of “vintage” – the classic car, aeroplane, camera, period costume, etc. But by taking the images and presenting them as paintings, he again adds an depth to each: not only is their subject matter “vintage” the nature of the pieces themselves is suggestive of this was well. He has also captured a sense of dynamic tension in each. This is perhaps most evident in the picture of Spitfire MH434, perhaps one of the most illustrious of that famous aircraft to survive to the modern age, but it can also be found in the other images as well.

Also on the lower floor, Corcosman Voom presents the very understated Interaction, which comes as a practical demonstration that less can often be more. Just six pieces are offered (don’t miss Dragonfly #12 on the far wall of the stairs to the upper floor), but they perfectly reflect the artist’s intent; whilst their considered spacing within the hall where they are displayed, allow us to properly focus on each in turn and consider in terms of the exhibit’s liner notes:

On the theme of interaction, it struck Corcosman from his earliest days in Second Life that as he explored parcels and encountered people in their variety of avatars, the 3D experience was like stepping inside a person’s mind. Everyone had built or purchased things and arranged them in a manner that had some meaning to them.

On the upper floor, the two exhibition spaces present Tom Prospero’s Rocks & Water: Interplay of Form and Light and and Sheba Blitz’s Mandalas – Mystical Symbols of the Universe respectively. Although entirely individual displays, they are perhaps also thematically linked beyond the core theme of dynamic edges.

Within his selection, Tom provides uploads of original art he has produced that are very much focused on nature and the “dynamic edge” where ocean and land meet. These are dramatic images (two of them particularly so, given the inclusion of particle scripts), that present the majesty and power of Nature and her ability to use water to sculpt land over the ages, while the richness of colour underline Nature’s implicit beauty through the play of sunlight on clouds, the motion of the sea, the aforementioned sculpting of coastal lands and the simply heartbeat like ebb and flow of the tide.

Mandalas having many meanings, particularly in eastern mysticism and within the New Age movement. In the latter, they are often seen as metaphysical representations of the cosmos and our relationship to it and infinite that extends through out it, and which exists within each of us.

Sheba’s art is very much as reflection of this: pieces designed to evoke feelings of piece, harmony and oneness. They draw on many of the traditional aspects and symbolism found within mandalas and within the eastern cultures that gave rise to them, whilst also embracing the more New Age aspects of their use. It is also in their reflection of the cosmos that they have the subtle link to Tom’s theme: in the former we have a consideration of Nature and her majesty here on Earth, with Sheba, this idea is expanded to encapsulate the cosmos as a whole, whilst both offer the chance for us to consider the dynamic edge between the lives we lead and both the natural world around us – and the universe in which it sits.

Having opened on June 12th, 2020, I’m not sure how much longer Dynamic Edge has to run at the gallery, so a visit sooner rather than later is recommended.

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• Artfully Yours (MysticalFantasy, rated Adult)

Currently open at the Michiel Bechir Gallery, curated by Michiel Bechir, are three exhibitions of art indirectly linked by themes, making for an interesting excursion for patrons of art in Second Life. On the ground floor, and in the north and south halls respectively, are selections from the portfolios of Hazel Foxtrot and Pavel Stransky, each of whom offer pieces largely focused on landscape images.

Hazel’s work appears to be largely without post-processing, a fact that leaves them with a raw and  – in an age where every image of Second Life is expected to be subject to PhotoShop and GIMP – refreshing naturalness to them. This is not to imply I have anything against the post-processing of Second Life images – such treatment can be used to add significant depth to an image or even transform it. However, it is refreshing to see images that have not been so treated, as they capture the places Hazel has visited as they might be seen  on a first visit.

Across the gallery, Pavel Stransky also presents works also largely focused on landscapes, although in difference to Hazel, he does use post-processing. This allows Pavel to present his work in a variety of styles: oil painting, water colour, photograph – all of which are highly effective in their presentation and in given that depth mentioned above, to each and every piece in the selection.

On the upper floor of the gallery is Balance, a join exhibition by Jessamine2108 and Zoe Ocelot. Offering a mix of words and images, it is a reflection on the current SARS-CoV-2 pandemic and its impact around the globe – but perhaps not in the manner you might expect. As has been noted in the news, the lock-down that has impacted the majority of the world has served to have a significant impact impact on pollution, leading to cleaner air within and beyond cities, and also cleaner water that can benefit humans and animals alike.

Thus, through images taken and selected by Jessamine2108, and the words presented by Zoe, the two artists to offer their own view of how the pandemic is affecting humans and Nature alike, with an emphasis on the idea that – as one of the natural brakes on human activity – the pandemic is helping to bring the Earth back into balance.

While that balance may be – in the scheme of things – short-lived overall, Balance serves as a reminder than Nature actually doesn’t require human kind; that – as the artists note – the rest of world moves on as humans huddle and hide in their corners.

And the link between the lower level exhibitions and Balance? All of them remind us of how important open spaces and the freedom to travel are to us and – hopefully – how much better we should be as caretakers of beauty present in the worlds around us.

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• Michiel Bechir Gallery (Embrace, rated Adult)

Gonzalo Osuna (Jon Rain) is the director of Konecta Radio, a streaming radio service based out of Bilbao, Spain. Offering a 24/7 service, Konecta has been streaming into Second Life and to the world since 2012. Gonzalo is also a patron of the arts in Second Life, and offers two gallery spaces at Konecta’s in-world home.

The first, on the ground level is an invited artist exhibition space. At the time of my visit, and through until June 28th, this is home to an exhibition by artist Dhyezl,entitled Travel Diary: Among Sand and Sea. On offer is a baker’s dozen of images depicting, as the name suggests, views that predominantly feature views that incorporate the sea and sands.

From tropical islands through to pyramids rising from a desert, it’s a mixture of landscapes from around Second Life, the majority of which are rendered in sun-washed tones that, with the more desert-like images, does much to add to their atmosphere and depth, giving them a richness of environment.

Other images in the set offer their own unique elements : the suggestion of clouds racing the sky over a coastal headland,the ageing, haunted beauty of a deserted fun fair as it fades into the arms of nature and more, all awaiting appreciation.

On the upper floor of the gallery is a special exhibition curated by Ciara Orssinni entitled Amoure Rouge. Comprising images obtained from the real world, it is described thus:

The red colour is always a sign of passion, danger, blood, sensuality, sex, and without a doubt it transmits strength with is own pulse.These photographs, studied by Ciara Orssinni from several aspects reflect all of those adjectives and much more – what everyone wants to imagine. Welcome to the world of “red hot” in “Amoure Rouge”: images transferred and obtained with the permission of the authors, from Pinterest, and whom you can follow on Konecta Radio.

A teleport from the ground level gallery offers the way up to a sky gallery that is also open to the public, offering a selection of art from Gonzalo’s personal collection.

At the time of my visit, the selection comprises pieces by Patrick Ireland, Sophie Marie Sinclair (Perpetua1010), Tayren Theas, Moora (Moora McMillan), Raging Bellls, Ana (oceanida) and … yours truly.

Given the names involved, this is a rich mix of of art from well-known Second Life artists – and I’m flattered to have a piece included among them.

Both galleries offer a worthwhile visit for any patron of the arts, and I’ve not hesitation in recommending both.

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Konecta Radio and Konecta Art are located on Carpathian Island, rated Moderate

• Konecta Art Gallery Ground Level
• Konecta Gallery Skybox

Open as of June 14th, 2020 at The Sim Quarterly is Le Déraciné (The Uprooted), an installation by JadeYu Fhang.

Described as being a study about “How to transform the pain of uprooting into a poetic vision”, it’s a typically layered and semi-interactive piece by JadeYu; one that invites interpretation more than it offers one for itself.  Also, and in keeping with YadeYu’s viewpoint, it is a piece that perhaps blurs the line between the physical and virtual dimensions, being present in one whilst created from the other, whilst also standing as a dream linking both.

The landing point sits above the main installation, a board presenting the required graphics settings needed to best appreciate the installation, while local sounds should also be enabled for the fullest experience. Once visitors are set, an Anywhere Door teleporter offer the way down to ground level and the installation proper.

Here the setting is made up of multiple parts: a central hill form which grows an enormous tree; a great vale of flowers that extends out into the water; and a village in the air, set as if floating upon wafer-thin clouds. The tree at first appears to be denuded, but slivers of green flow over the branches and wrap around the trunk, which is in part carved into a female form, while more green floats around the branches as orbs. A second figure lies in the shallows below, legs entangled into a network of roots. As well as the green on and around the tree, paths of light glimmer as they rise from the lowlands to pass over the tangle of roots that form the hill’s crown, offering a way up to the tree as then converge upon it, whilst a single path rises to the cloud village.

Throughout the setting, the motif of roots is clear: but what of the idea of being “uprooted”? Perhaps it is in relation to physical relocation: there is the village in the air and the one at the landing point – are these then symbolic of the pain of moving home? Or is the meaning more bound in matters of ecology or in the erosion of cultural identity due to the demands of an increasingly homogeneous modern world, perhaps invoked through the dancing figures?

As noted above, interpretation is down to the observer. What is apparent is JadeYu’s rooting in surrealism, edged with a sense of spirituality.

Open through a period of three months, Le Déraciné offers plenty of time for you to visit and consider it for yourself.

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• Le Déraciné (The Sim Quarterly, rated Moderate)

Currently open at Focus Magazine is The Truth About Trees, another thought provoking exhibition by Milena Carbone. It offers something of a multi-media installation, combining images and text (accessed via links to web pages), bound together by themes of life, ecology, harmony, and nature, and carries a vein of religious metaphor.

There is a path through the exhibition that starts to the right of the entrance beyond the window with a text element, and then proceeds counter-clockwise around the walls to the exit. The opening text is that of a dialogue Milena had with a friend in Australia who witnessed the 2019 brushfire there first-hand. It serves not just as a reminder of those events, but also that the Australian brush is a part of nature; a living environment in which we either share or seek – for better or more often for worse – try to dominate.

From here the story unfolds as pairings of image and a link to a story element, each to be taken in turn. It’s a story that mixes fable, the story of creation, the balance of nature. Folded into this are cosmic themes such as our place in the universe, raised through a story around ʻOumuamua, the first known interstellar object to have been detected passing through our solar system.

It’s a story that enfolds the images presented in the exhibition and reaches beyond them to pictures also found in the web pages of individual stories. In part it follows themes those who know Milena’s work will find as being familiar: questions about God, he nature of God’s existence the aforementioned issues of ecology, nature and harmony. However, these themes are not just presented through the stories – or perhaps mythology might be a better term – but also through the setting of the exhibition itself.

The latter appears as a walled garden with a central apple tree surrounded by police crime scene tape. The metaphor here is clear: the Garden of Eden, the Tree of Knowledge, the transgression against God’s will in the taking of the Apple and the fall of human kind from grace.

But here as well the metaphor in deeper than may first appear: were we really created in God’s image? If so, then were we not as flawed as God from the outset? If so, then was the crime committed by Adam and Eve not so much the eating of the apple against God’s orders, but rather God’s own failure in not making us better than just imbuing us with “his” own frailties; frailties that have prevented us living in the kind of natural harmony that has marked the rest of his creation?

Involved, rich in detail, theme and substance, The Truth About Trees will remain open through the rest of the month.

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• The Truth About Trees (Desert Shores, rated: Adult)