Category: Art in Second Life

Cica’s Winter in Second Life

Posted on by Inara Pey
Cica Ghost, December 2025: Winter

December has arrived, and with it, the holiday season has popped its head over the horizon, and I’m more in the mood to start touring winter-themed locations in Second Life. By coincidence, Cica Ghost dropped me a line to let me know she’d just opened her end-of-year setting in her homestead region of Mysterious Isle, thus giving me my first outing to a winter setting to mark the approaching year-end.

Called, appropriately enough, Winter, the setting comes with a quote from T.S. Eliot’s poem The Waste Land, first published in 1922. Eliot is, again entirely coincidentally, one of my favourite writers of the 20th century, and it is not unfair to view The Wate Land a one of the most important poems of that century (and this, if you want my opinion, remains true for this current century as well 🙂 ).

Cica Ghost, December 2025: Winter

Given my love of Eliot, there is a danger here of me getting side-tracked into an examination of Burial of the Dead, from which the quote has been taken:

Winter kept us warm, covering
Earth in forgetful snow

– TS Eliot, The Waste Land, 1922

However, I’ll spare you any such thing, because the focus here is on these particular lines, not the poem as a whole or even part of it from which they have been taken.

Cica Ghost, December 2025: Winter

In their standalone state, these two lines perhaps encompass ideas of the joyous warmth we can so often feel when seeing a snow-covered landscape, together with the opportunities for us to forgot the worries and concerns of life whilst enjoying unique forms of play and fun snow can encourage – or simply by walking through snow and appreciating the quiet beauty it so often brings.

Befitting this, Cica presents a snowy landscape intended for wandering and finding its wonders. The latter particularly come in the form of Cica’s engaging creatures, all of which are – once again, appropriately – white. In this, what I found particularly attractive about Winter is its monochrome-like environment, one in which I’d recommend enabling Shadows in your viewer if your computer is up to it.

Cica Ghost, December 2025: Winter

This build does offer fewer places to sit than many of Cica’s previous installations through the year;  to me, this encourages the idea of walking through this winter wonderland, rather than jumping from sit point to sit point, this making it more enjoyable. In this Winter is an easy-going, happy setting in keeping with the season for many of us, allowing us to ease into the winter months, the holiday season and prepare ourselves for the year’s end.

SLurl Details

  • Winter (Mysterious Isle, rated Moderate)

Avalonian Gallery, November 2025 in Second Life

Posted on by Inara Pey
Avalonian Gallery, November 2025

As I continue to try to catch up on what’s going on in Second Life, I took the opportunity to hop over to the Avalonian Gallery, operated and curated by Moon (Moon Dragonheart), a 20-year veteran of Second Life (and fellow “Brit”) and his SL partner Luanamae Heartsong. This is one (which might actually be relatively new to the SL art world) of the many smaller, boutique-style galleries which can often pass unnoticed in the scheme of things, especially by those of us who blog art, so a slap across my writs in this regard, but which nevertheless quietly hosts engaging exhibitions.

Located on its own sky platform above the Mainland continent of Heterocera, the gallery is housed within one of Cain Maven’s instantly recognisable and elegant buildings. A large terrace bordered by hedgerows sits before the gallery, offering both the Landing Point and (presumably) space for event openings.

Avalonian Gallery, November 2025: Dante Helios

At the time of my visit, the gallery was hosting an untitled exhibition of art by Dante Helios (Dantelios). Also hailing from the UK, Dante splits his SL work between landscape images and erotica, noting:

Both of these themes fascinate me and continue to bring me pleasure in SL. I enjoy exploring beautiful sims and trying to capture the feeling of being there. I also enjoy seeing how women are far freer to express their sexuality in SL through their avis than they are in RL.

For this exhibition, the focus is on Dante’s landscape work, which I find to be rich, evocative and finely balanced in the use of post- (and possibly pre-?) processing to create pieces that can open the door to the imagination, allowing it to paint stories of its own – or which can simply be appreciated for their beauty.

Avalonian Gallery, November 2025: Dante Helios

The gallery building is split into two rooms, large and smaller, and Dante’s exhibition might be seen as being loosely split between the two.

Within the larger L-shaped room, entered directly from the terrace, is a display of images largely (entirely? I admit, there were two I didn’t recognise) within a region I’ve always found to be richly engaging on many levels: Buddha Garden, the work of Gian (GianArt Clip). It’s a place I’ve visited numerous times since 2022 (the most recent having been in August 2025), and the images Dante presents here offer and entirely new outlook on the setting, presenting it with a sense of mystical beauty that is quite marvellous.

Avalonian Gallery, November 2025: Dante Helios

The smaller room presents a collection of eleven pieces captured from around Second Life. They again include personal favourites – the now departed (and missed) Elvion, the ever-captivating Chou-Chou (the cathedral of Memento Mori perfectly captured and instantly recognisable as I place I’ve spent a lot of time within and have filmed in the past).

Also to be found (although I admit I had to peek at the name of the pictures for these) are Luane’s World, Angel of Pain, and Storybook, all of which have been locations featured in these pages, and the spirit of all of them is perfectly captured in Dante’s images.

Avalonian Gallery, November 2025: Dante Helios

I’m not sure how frequently exhibitions are staged / changed at Avalonian Gallery or how long this exhibition has been running. The latter being the case, I would recommend hopping over and viewing sooner rather than later. In terms of the former, I fully intend to keep an eye on the gallery’s group notices and outlets such as the various SL Arts groups for future exhibitions.

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Artsville further relocates and continues to engage in Second Life

Posted on by Inara Pey
Artsville, November 2025

Artsville, the art and entertainment hub under the joint management of Frank Atisso and Vitoria Galli, has once more relocated for what I believe is the second time in 2025 (the first being at the start of the year, which I covered here).

Now occupying roughly one quarter of a Full private region which leverages the Land Capacity bonus, the overall design remains the work of Megan Prumier, working in collaboration with Frank and Victoria. It offers what might be said to be a setting of two halves: art and entertainment, which between them contain faint hints of the former Artsville design – most notably with the Landing Point, the symmetry of which calls to mind the prior location, together with the overall rugged elevation of the setting.

Artsville, November 2025

The two “halves”, as it were, of the setting lie to either side of a sheer-sided gorge, the waters of which flow from tall falls from its southern extent to the open waters at its northern end. It is mid-way along this gorge that the Landing Point sits, straddling the waters in the form of a pergola-covered paved walkway bordered by open seating areas.

The lands at either end of this bridge are of unequal size, with the western side of the the setting offering the smaller footprint. With the façades of city building running along its western edge, this part of Artsville might be regarded as the entertainment district and – at first glance at least – apparently comprises three main elements.

Artsville, November 2025

Directly facing the Landing Point is a large warehouse structure, given over to a music / event space, presumably for hosting music events and art exhibition open entertainment. Flanking this to the left and right when facing it are, respectively, a train station and a garden area offering seating and an old London buss now painted yellow and converted into bar space.

It is within the garden space that the “hidden secret” fourth part of this side of the setting is to be found: sitting below the sign and entrance for a London Underground station can be found a stairway leading down to a further event space laid out in the manner of a private club rich in wood finishes, low lighting and deep, comfortable armchairs, with the walls, wooden floor and low ceiling studded with lights twinkling gently light a star scape.

Artsville, November 2025

On the eastern side of the setting is the art-focused elements of Artsville, centred on another large warehouse style of building split into two indoor gallery spaces. At the time of my visit, these were hosting exhibition by two excellent Second Life photographer-artists: Cecilia Nansen and Christian Carter.

To the north side of this is a sculpture garden featuring the work of Mistero Hifeng which shares the space with a small café with an over-the-water seating area located over a small pond. Further water features to the eastern end of the sculpture garden, complete with seating. Bracketing the gallery warehouse is a further raised plateau, home to a music bar / lounge.

Artsville, November 2025: Cecilia Nansen – Light Enough to Land

The two exhibitions hosted with in the gallery space are entitled Light Enough to Land, by Cecilia, and Hands that Speak by Christian. Both are captivatingly exquisite, with Cecilia’s black-and-white images featuring a butterfly, and which Cecilia describes in part thus:

In this series of ten photographs, the little black and white butterfly becomes both a mirror and a symbol – a fragile creature suspended between strength and dissolution. Each image captures a fleeting moment where light and shadow, movement and stillness, existence and disappearance co-exist. … This little exhibition invites the viewer to linger in the in-between – where the ephemeral becomes eternal and where vulnerability reveals its quiet yet beautiful strength. 
Artsville, November 2025: Christian Carter – Hands that Speak

Meanwhile, Christian’s work, also comprising ten images – these offered in colour – also have a specific focus that of the human (in the form of the avatar’s) hand, and for which Christian offers (again, in part), the following description:

I became fascinated by the stories that we can see in people’s hands; stories of resilience, care, and connection etched into their lines, the gestures that convey comfort, strength, and vulnerability without a single word. … I hope that as you gaze at these images, you’ll be reminded of the quiet power of the human connection, the unspoken stories carried in our hands, and the profound empathy we can find in the simplest touch.
Artsville, November 2025

The new Artsville is both unique in its setting whilst carrying on its long tradition of promoting art in SL, and I highly recommend a visit – particularly to catch Cecilia and Christian’s exhibitions. My thanks to Frank for the invitation to visit, and my apologies for not being able to do so sooner.

SLurl Details

  • Artsville (Isle of Thunder, rated Moderate)

Cica’s 100th in Second Life

Posted on by Inara Pey
Cica Ghost, November 2025: 100th

It was off to Mysterious Isle for me after receiving an invitation to visit the November 2025 installation by Cica Ghost, entitled simply 100th. The name reflects the fact that this is Cica’s 100th solo installation in SL – and I’ve been fortunate to cover more than 90 of of them down the years (as well as Cica’s collaborations with Bryn Oh and her special exhibitions for charity events), and it has been a genuine delight to do so.

The installation is framed by a quote from editorial cartoonist, humourist, Monday columnist, and Promotional Manager of The Trenton Times for over 30 years, Frank Tyger. It’s a quote that perhaps aptly sums up Cica and her art:

When you like your work, every day is a holiday.
Cica Ghost, November 2025: 100th

For me, visiting Cica’s installations generally tends to be something of a holiday, as so many of them naturally evoke a sense of fun and happiness which can be infectious, and clearly born of Cica’s own sense of fun and adventure. Even those which have in their time encouraged deeper exploration of themes and ideas have demonstrated a gentle tickling of one’s thought processes and light nudging of emotions rather than demanding we sit up and take note.

Cica’s 100th perhaps offers an added layer of that sense of fun for us to share, presenting as a does a setting and inhabitants looking like they have all be moulded from plasticine (or playdough / playdoh if you prefer) which immediately transports one to memories of younger years and creative expression when rolling, squishing, shaping and pressing lumps of either material to create worlds and creatures of our imaginations; places and things of riotous bright colours, sometimes additionally decorated with things “borrowed” from around the house (in this case – buttons!).

Cica Ghost, November 2025: 100th

100th is a genuinely joyous little setting which celebrates some much we’ve come to associate with Cica’s work: fantastical creatures and insects, funny little houses, blooming flowers, cats and other animals (I particularly like the cow apparently wearing blue wellies!), together with Cica’s signature interactive elements: places to sit or dance, little vehicles to rumble around in and – tucked away and waiting to be found – a little gift from Cica.  All of which is presided over by a very happy Sun looking down from a sky in which dough-like clouds serenely float.

As with all of Cica’s installations, I recommend viewing 100th using the local Shared Environment, and if your system can handle them, with Shadows enabled. And if you’d like to look back through all of Cica’s installations over the years, then why not take a look at her Flickr photostream as well?

Cica Ghost, November 2025: 100th

For may part, I’ll simply congratulate Cica on reaching her 100th solo installation, and raise a glass in the hope of seeing my more!

SLurl Details

  • 100th (Mysterious Isle, rated Moderate)

A Syntax of Absence at Nitroglobus in Second Life

Posted on by Inara Pey
Nitroglobus Roof Gallery: Debora Kaz – Syntax of Absence
Creating and inhabiting an avatar is, for me, an act of translation. It does not replace the body; it extends it. The gestures, the gaze, and the silence of this digital body are attempts at language — ways of existing within a space where everything is image and nothing is tangible.
By using my own avatar-character, I transfer fragments of myself into a body that must learn to feel without skin, to speak without a voice, to occupy space knowing that every presence there is also an absence. It is in this tension — between being, existing, and trying to communicate — that the true pulse of my work emerges.

These are the words Debora Kaz uses to introduce the latest chapter in her Invisible Cities art series, entitled Syntax of Absence, which is being hosted by Dido Haas at her Nitroglobus Roof Gallery in Second Life.

Collectively, Invisible Cities thus far comprises Fighting Women, hosted at Nitroglobus in August 2022, The Future in the Present Overflows, presented at Artsville galleries in May 2023 and Essay on Desire, again presented at Nitroglobus in September 2023, and now Syntax of Absence. Together, these installations offer(ed) personal reflections of what it is to be a woman, with Fighting Women focusing on showing the pain and difficulty of being a woman in a world where women have historically been portrayed as objects of desire, exposed to consumption – and how they are encouraged into harmful (and often shallow) rivalry with one another in order to be seen as such.

Nitroglobus Roof Gallery: Debora Kaz – Syntax of Absence

The Future in the Present Overflows, meanwhile expanded upon these themes, encompassing them in a boarder historical context before Essays in Desire took on a more directly personal (to the artist and the observer) exploration of the precepts of desire – notably those of sensuality, sexuality, and eroticism – and how they play a vital role within the process of self-discovery and understanding of oneself.

All three of these past exhibitions were offered in the abstract of “invisible cities”, places which are not physical or tangible, but rather symbolic; shades of light and dark, suggestions of spaces and places sketched from the void and intended to present architecture of emotion intended to backlight, if you will, the core themes and discourse Debora presented in each exhibition, rather than forming a structured part of them.

Nitroglobus Roof Gallery: Debora Kaz – Syntax of Absence

Within Syntax of Absence, Debora more brings together the literal – as in the emotions and perceptions present within the earlier chapters of this series – more directly with the artificiality of the “digital backlighting” of those earlier installations. In doing so, she further explores concepts of self, strength, vulnerability, femininity and erasure. However, she does so through the idea of the self becoming subsumed within the digital.

The women I create live in an in-between state — they want to exist, yet they also want to disappear. They are fragments of myself, of others, and of what society insists on projecting and consuming: the female body as both victim and language, erased as person, highlighted as product.
These investigations unfold into Syntax of Absence, where the body no longer inhabits the city but becomes the code itself. The feminine turns into syntax, command, and conscious noise. Absence becomes language; presence becomes data.

– Debora Kaz, Syntax of Absence

In this idea of the subsumption of the body by the digital, Syntax of Absence in some ways completes a circle that started with Fighting Women: the study of the feminine rising out of a digital landscape to provoke and evoke our thinking, now sublimating back into and becoming lost within the digital.

Nitroglobus Roof Gallery: Debora Kaz – Syntax of Absence

At the same time, it perhaps might also be seen as a wider observation of our current state of our digital engagement today; one in which we gain both a far greater freedom of expression and ability to escape constraints we might otherwise feel, whilst at the same time our ever-deepening involvement (reliance?) on digital means for projecting ourselves and digital (AI) tools for interactions / expression), we also risk further reducing ourselves, became more of the digital noise, our presence reduced to mere data bytes.

In all, another thought-provoking exhibition with layered meaning  / interpretation. When visiting, do please note that Syntax of Absence extends through the main gallery and The Annex at Nitroglobus.

SLurl Details

Carelyna’s Nefelibata in Second Life

Posted on by Inara Pey
Akimitsu, October 2025: Carelyna – Nefelibata

Currently open at Akimitsu, a member of the Akipelago regions held and operated by Akiko Kinoshi (A Kiko), is an exhibition of art by ArtCare gallery curator, DJ and artist Carelyna. Entitled Nefelibata, it comprises a dozen images captured in Second Life and then beautifully post-processed to present scenes with a dream-like quality entirely in keeping with the exhibition’s title, which Carelyna defines thus:

Nefelibata is a Portuguese word that translates to “cloud walker”. It describes a dreamer or someone who lives in their imagination, detached from societal norms, literature, or art conventions. Originating from the Ancient Greek words nephele (cloud) and batha (walker), the term is used to describe an unconventional, imaginative, and dreamy individual who thinks and lives outside the box.

– Carelyna

Akimitsu, October 2025: Carelyna – Nefelibata

Among their many character traits, nefelibata embrace solitude and nature. For them, solitude is never lonely; it is a cherished companion. The natural world, meanwhile, is looked upon as a sanctuary offering both peace and contentment in which reflection and, notably, inspiration might be found, the latter thus becoming a muse for creativity and expression.

To the nefelibata, life is art and art is life. The medium – painting, writing, poetry, dance –  are not merely endeavours or performances; they are an expression of existence, both revealing and shaping their identity and worldview. With every word or piece of work they create, they reveal what lies within themselves and exposes an ability to see the world not for what it is so much as for what it might be.

Akimitsu, October 2025: Carelyna – Nefelibata

In this, nefelibatas might be defined as nonconformists. they reside outside of established rules governing their chosen form of expression; as Carelyna notes, “A nefelibata chooses their own path and lives by their own inner truths rather than societal norms”.

All of this is softly, beautifully captured in the twelve pieces presented by Carelyna. In nine of them, individual figures – male and female – are presented.  They are the nefelibatas, the settings in which they are featured presenting clear expressions of the individuality of their dreams, their thoughts, the world as they see it within their imaginations. For all but one of these nine pieces, the faces of the individuals are either unseen or at best partially seen, adding to the idea of them being dreamers; their presence within the pieces as dream-like as the setting itself.

Akimitsu, October 2025: Carelyna – Nefelibata

All of them present the world in terms of its natural beauty, each expressing a dream-like quality  Taken as a whole, the images marvellously present the theme of the nefelibata and underscore Carelyna’s own position as on of these upward-looking artistic nonconformists.

SLurl Details