Category: Art in Second Life

Moni’s Forbidden Fruit at Nitroglobus in Second Life

Posted on by Inara Pey
Nitroglobus Roof Gallery: Forbidden Fruit

Monique “Moni” Beebe makes a further return to Dido Haas’ Nitroglobus Roof Gallery to mark the start of the year, with her latest exhibition Forbidden Fruit.

Moni is one of the most sensuous, evocative artist and – given she is generally the subject of her own work – models in Second Life, somthing I’ve noted in the past, as such I’ve been looking forward to seeing her latest exhibition since Dido tipped me the wink that Moni would be making a further return to Nitroglobus. She has the ability to present studies that are rich in mood, sensuality, nuance, story and sexuality – the latter without relying on being blatant provocation.  Rather, they are genuine works of art that would be fully at home in any physical world gallery as they would in a virtual setting.

Nitroglobus Roof Gallery: Forbidden Fruit

This latter point is very much proven with the selection of work forming Forbidden Fruit, which marks something of a departure from Moni’s previous exhibitions at Nitroglobus – Hidden Faces , Sensuality, and Changing Moods – in that for some of the pieces here, Moni has found inspiration in the work of a another artist, as Dido explains:

Moni got inspired by a RL exhibition of famous Dutch photographer Erwin Olaf, which she visited last Spring in the Gemeente Museum The Hague. Especially the mood of the early series Squares and Chessmen by Mr Olaf you will notice are reflected in some of the images of this present exhibition.

Such is Moni’s compositional eye that she presents a unique perspective on Olaf’s work (take Stone as an example) which is far from derivative – but which would nevertheless be completely at home in an exhibition such as Chessmen.

Nitroglobus Roof Gallery: Forbidden Fruit

For me, the power of Moni’s work is her ability to offer a tale of sensuality through pose and / or focus on bodily curve without necessarily utilising exposing nudity or full facial expression (which is not to say nudity is not present in some of the pieces here). Take the titular Forbidden Fruit, for example. It carries a rich sensuality that evokes feelings of desire bordering on lust, heightened by the use of clothing and the hiding of Moni’s eyes under the wrap. This particular piece also highlights another maturing aspect of Moni’s work: her ability to layer narrative and images; in this case the pairing of a woman with prominently placed apples offers a suggestiveness of story that reaches all the way back to Eve, the apple and a certain serpent – and what form the knowledge may have taken.

There is also a richness of self about Moni’s work that I again find attractive perhaps more than other artists who produce images using their avatars as models; Moni offers subtle insights into her personality and nature – with the emphasis on subtle. This heightens the response to her work that can reach beyond examining any single image or selection of images, to tickle the desire to know her personally.

Nitroglobus Roof Gallery: Forbidden Fruit

Rounded-out with lounge, a sculpture by Kaiju Kohime that sits perfectly with Moni’s images, this is again a marvellous exhibition by an exceptionally talented artist and visualist.

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Art Made in Second Life: FionaFei’s fabulous shuǐmò

Posted on by Inara Pey
Fiona’s Reflection, as featured in Art Made in Second Life

FionaFei is a relative newcomer to Second Life and its art world, but she is someone who has made an enormous impression on those who have witnessed her art. I’ve personally had the delight in discovering it, and in writing about it on two occasions (see: Captivated by FionaFei’s art in Second Life (May 2019) and FionaFei’s shuǐmò Reflection in Second Life from November 2019).

As such, it was a joy to see that Fiona and her work are the subject of the first video (embedded below) in the Second Life series Art Made in Second Life (itself a further branching of the Made In Second Life video collection).

FionaFei (via Art Made in Second Life)

Fiona specialises in reproducing shuǐmò ink wash painting as 3D sculptures and setting within her appropriately-named Shui Mo gallery space in Second Life.

Also called shuǐmòhuà (suiboku-ga in Japanese) shuǐmò, uses different concentrations of black ink to create an image. Found throughout East Asia, it first emerged in Tang dynasty China (618–907), before spreading to Japan (14th century), Korea and to India. Beside the use of black ink in place of colours, it is also marked by the emphasis of the brushwork being on the perceived spirit or essence of the subject, rather than directly imitating its appearance.

Through her installations, Fiona marvellously brings the entire essence of shuǐmò to virtual life. In doing so, she allows the spirit of this ancient art form directly inhabit us, by making our avatars part of her work by virtue of our presence within it, whether we participate through direct interaction (as with the umbrellas in the “foyer” area that sits between the pieces referenced in the video (Reflection and Rising) or through our entry into, and exploration of, Reflection itself.

Within pieces like Reflection and Umbrella Landscape, and before them Wo Men Dakai (about which I wrote in Captivated by FionaFei’s art in Second Life), Fiona offers a combined celebration of this ancient form of art, a means of reflecting on her heritage, and an opportunity to present her own philosophy on life, as she notes both through the video and in her own writings.

As a Chinese American who immigrated from China at a young age, I created the Shui Mo series as a way of connecting with my ancestry and celebrate centuries of art from old masters who painted using traditional Chinese ink brush style….

…I see life and my journey as a painting. It can be forever an evolving piece … At any given time, you think you’ve reached the end of it, but you can always add to it, layer it, and change it. In a sense, each brush stroke is like a footprint.

– Fiona discussing her art and her world view

Three of Fiona’s traditional Chinese scroll painting – which are actually 3D sculptures, the centre on animated

What is particularly attractive about this short video (running to just under 2 minutes) is the manner in which it reflects the emphasis of shuǐmò. Rather than dwelling at length upon Fiona’s art, or presenting an in-depth look at her life and how she came to Second Life, it provides broader – dare I say  – brush strokes of both. Thus, and like shuǐmò, it captures the spirit of her work and presence hear, rather than more directly presenting the appearance of both, leaving us with the opportunity to discover more by visiting Shui Mo and Fiona’s Flickr gallery.

For my part, I cannot emphasise the sheet beauty and alluring appeal and depth to Fiona’s work, and urge anyone who has yet to witness it to both watch the video and take the time to visit her gallery in-world and fully immerse themselves in her art and vision.

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The Phoenix Artists Collaboration in Second Life

Posted on by Inara Pey
The Phoenix Artists Collaboration: Vroum Short

Officially opening on Wednesday, January 8th, 2020, is a new ensemble exhibition at The Phoenix Artists Collaboration (PAC), featuring individual art displays by some 42 artists – making it quite the stop for any lovers of art from both the physical world and the virtual, with the exhibition area offering additional spaces for exhibitions and events.

We share a simple dream and goal, to support and display artists work, so they may flourish and encourage others to do the same, Along this path we hope to make life long friends that form a collaboration to support each other and encourage us all to be the best we can.

– from the Phoenix Artists Collaboration group description

The Phoenix Artists Collaboration: Flamered

Those participating in the exhibition are: Dhyzel, Flamered, Giselleseeker, Lampithaler, Lyric, PatrickofIreland, Ragingbellls, ViktorSavior, Akim Alonzo, Tara Aers, Michiel Bechir, Klaus Bereznyak, Sisi Biedermann, Sheba Blitz, Zia Branner, Ilyra Chardin, Rage Darkstone, Slatan Dryke, Sophie Dunn, Elin Egoyan, Anders Franizzi, Eta Goldsmith, Pearl Grey, Layachi Ihnen, Mcpol Kamachi, Moora McMillan, Mistero Hifeng, Kayly Ilali, Moya Janus, Anibrm Jung (PAC curator), Silas Merlin, JolieElle Parfort, Melusina Parkin, Tom Prospero, Vroum Short, Ambre Singh, Sisi Singh, Tim Timaru, Maloe Vansant, Talullah Winterwolf, Cullum Writer, and yours truly.

The artists have all either been allocated space on the upper floor of the Concourse landing point, or in one of the surrounding suites. The latter are arranged in a 2-level square to provide a total of 36 gallery spaces, some of which are shared between two artists.

Phoenix Artists Collaboration: Mistero Hifeng

To facilitate easier location of individual artists, the lower floor of the Concourse building includes teleport portraits of all the artists displaying their work; just touch one to go to their gallery suite. Casual browsing of the individual suites can be achieved by stepping outside and wandering the streets (the upper and lower levels of which are connected via a spiral stairway in the south-east corner of the square) and dropping into any that catch your eye.

Given the number of artists participating in the exhibition, the breadth of art on offer is as broad as it can possibly get: Second Life landscapes, physical world art (mandalas, abstracts, digital media, paintings, drawings), themed avatar studies, Second Life vehicles, 3D pieces, reflections on SL art installations, images and words, and more.

Phoenix Artists Collaboration: Cullum Writer

Many of the pieces displayed are offered for sale, presenting an excellent opportunity for adding to collections, while (again) the number of artists exhibiting means there are opportunities to catch up with some well-known names and perhaps discover the work of some you may not have previously come across.

When visiting PAC, note that the teleport mat at the landing point provides access to further PAC spaces, not all of which may be in use at a given time (such as the events area). Chief among these is the PAC 3D Gallery, which at the time of writing featured Dressing the Decades, an “historical fashion outfits expo”, with paintings by ViktorSavior (and lists photo by Richard de Grataine Suoh and words by Alena Pit, although only Viktor’s painting were on display at the time of my visit).

Phoenix Artists Collaboration: Yours Truly

The core event at PAC officially opens between 12:00 noon and 14:00 SLT on Wednesday, January 8th, 2020.

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Edie Horngold at DiXmiX in Second Life

Posted on by Inara Pey
DiXmiX Gallery: Edie Horngold

Calling Out For You is the title of Edie Horngold’s exhibition at DiXmiX gallery. Located on the gallery’s White hall mezzanine and running through until early February 2020, this is an intriguing series of avatar studies, each of which is intended to frame a story, rather than representing an avatar through portrait or action.

Quite what the story might be is entirely down to those who visit – hence the title for the exhibition – as each image in this selection is highly personal in interpretation. All but one of the images deliberately avoid including the full face of their subject (Edie herself), a move that helps to settle those viewing them into a wider consideration of the narrative framed within each image, rather than being focused purely on looks and expression.

A further aspect to the story elements of the pieces comes through the use of colour, with most of the pieces offered as monochrome pieces. Where colour is used, it is generally not only minimalised, it is often offered through softer tones, allowing it to form a part of the overall narrative without distracting from it by causing the eye to unduly focus on individual parts of the image.

DiXmiX Gallery: Edie Horngold

Take Hisssteria, for example. Here the broader monochrome aspect of the piece is “broken” through the reflective sheen afforded the leather suit, while the use of a flesh tone of the arm blends, rather than clashes, with the more alabaster tone to the exposed flesh elsewhere whilst also offering a suggestion of sinuosity in keeping with with the snake (also offered in softer tones), thus helping the eye and mind to focus more on the relationship between figure and reptile.

A contrast to this approach is Hand With Cigarette. Here the use of colour is richer – the green of the dress deliberately contrasting with the paler flesh and the black background. This helps draw the eye to the red nails, the tempting partial exposure of nipples and the languid hand with the cigarette between relaxed fingers. All combine to imply seduction, the dress and poised hand at the side enhancing the potential for story through the suggestion of a femme fatale.

DiXmiX Gallery: Edie Horngold

It is these hints and echoes that make many of the pieces so intriguing. They draw one into each picture, teasing the imagination, presenting both evocative and provocative lines of narrative; mysteries, if you will, in which the solution is unique to each of us.

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A Walk in the Darkness in Second Life

Posted on by Inara Pey
Terrygold – Carla: Walk in the Darkness

Substance abuse – be it “hard” or “soft” drugs, misuse of prescription drugs or over-indulgence in alcohol, to name but some of its forms – can be a difficult subject to represent. It can come about due to a variety of means and reasons, often with the person or persons caught in the cycle either trying to hide their dependency or deny it. Circumstance often plays a role in misuse, and that circumstance can vary widely.

With her latest installation, Carla, Walk in the Darkness, Terrygold attempts to weave a story of how substance abuse can grow out of the simplest of situations: peer pressure coupled with parental pressure.

Terrygold – Carla: Walk in the Darkness

Though a series of written chapters presented in text, interlinked by a series of 3D vignettes and photographs, the installation traces the story of Carla, a young teenage girl who is apparently content with her lot: school and studying to be a dancer – until she runs into some of her peers into smoking some cannabis.

From this seemingly innocent start, Carla’s life spirals – kicking back and just enjoying the heightened mood associated with cannabis, then skipping dance lessons and rebelling against her family’s concern / pressure that gives her a need to seek “freedom”, which itself is a further opening of the Pandora’s box of needing to recapture the comfort and escape of that first high through every more damaging ways – damaging to both herself and members of her family.

The story is set out in a series of descending rooms, starting from the uppermost, where a general introduction to the installation can be found, together with information on how best to view the installation. Spiralling downwards, each room offers a piece of the story, the physical descent from room to room clearly a metaphor for the descent into the darkness of substance abuse / dependency. Following the path down can be a little difficult in places, – so just cam around if you feel your are stuck; there are clues in places – green triangles on the floor or roses spread across them.

It is ultimately a dark tale that does not end happily – as one might expect – and the ending is made that much starker because after it, we get to see what might have happened if, instead of succumbing to a need to be accepted by peers, Carla had uttered a simple word.

Overall, the story is well told; the words of the story have in places obviously been carefully chosen to have maximum impact, and the individual vignettes (some of which may have interactive elements, so be sure to mouse around them rather than simply passing through) emphasise the key points of the tale. That said, there is a risk some might find the story a little too artificial in structure (long has been the debate around whether medicinal use of some drugs can lead to a need / dependency on them or carry a person into the realm “hard” drug abuse). However, as I’ve noted, this isn’t a subject that is easy to represent or broach; as such some license in the structure and outcome should be allowed.

Terrygold – Carla: Walk in the Darkness

Carla: Walk in the Darkness officially opens at 13:00 SLT on Saturday, January 4th, 2020.

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JanitaEduarda Arado at La Galerie D’angle

Posted on by Inara Pey
La Galerie D’angle: JanitaEduarda Arado

Currently open – for a while longer at least, given it commenced at the end of October 2019! – at La Galerie D’angle, curated by Mary Zimmer, is an exhibition by JanitaEduarda Arado.

I confess that I’m not aware of being that familiar with JanitaEduarda’s work, but will say that this exhibition is a superb introduction. Comprising some 40 images, the pieces presented in it cover landscape, avatar and self-studies that are diverse and eye-catching. Throughout all of them as a rich understanding of colour, tone, depth of field / focus and – as is always important for me – narrative.

La Galerie D’angle: JanitaEduarda Arado

The latter are particularly strong in the self-studies spaced throughout the exhibition, where the suggestion of a broader story – or a layering of stories is offered. Take When the Last Sound has Faded, for example. This predominantly monochrome piece has several tales to tell, from a suggestion of a love of music, through the emotional power of music to the tale of a love now past and the loneliness / regret that follows – or, conversely, in the peace and solitude that a release from a relationship brings.

Sometimes the stories are more indirect. Take Stillness of the Mind. Here the idea of piece may initially be suggested through the use of soft focus that rendered the figure in the background as blurred, suggestive of someone lost in thought. However, the same depth of field brings the milk urn on the kitchen table into sharp focus, and with it the idea of liquid at rest, undisturbed, still – and so we have a metaphor for a mind at rest.

La Galerie D’angle: JanitaEduarda Arado

Once again, this is a superb exhibition for this gallery, featuring an artist whose pieces invite the imagination to take flight. Not to be missed before it closes.

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