Category: Art in Second Life

Cayla (YumiYukimura) invited me to visit her latest exhibition at Saint Elizabeth’s Studio and Gallery in Second Life, which opened on Monday, June 3rd, 2024. Entitled Monochrome Memories, and with the sub-title of Shades of Adolescence, its an exhibition that is somewhat personal for Cayla and which has – being frank – drawn mixed feelings from me on viewing it.

The personal aspect of the exhibition comes from the fact it is rooted in a physical work project Cayla undertook, as noted in the her introduction to the exhibition:

When I was a young teacher and photographer, I was invited to participate in a group exhibition at a prestigious local art gallery. I had to develop, process, mat, and frame the photographs in my own, one person, professional darkroom. During my free prep periods, at school, I would select a student, take them outside, and have them self pose against a wall of the school building dressed in their everyday attire. This was during the 1970s and 1980s. 

Unfortunately, all of my original photographs were destroyed in a flood, including the negatives. The AI-generated pictures presented here evoke memories of those I captured during that time. Just like the originals, these AI pictures are in black-and-white.

Cayla (YumiYukimura) on Monochrome Memories

Cayla also note that during that original exhibition, several of the artists commented on how her images reminded them of the black-and-white photography of Indiana-born and Arkansas-based photographer Mike Disfarmer (1884-1959). He spent a good portion of his adult life living and working in a small photography studio where he would create and sell images of the local townsfolk and those from the surrounding area. As a working photographer, selling set of three photographs at 50 cents, Disfarmer never really garnered much attention during his life – and this might have remained true following his death, but for the 1970 discovery of a cache of his original glass negatives still located with the premises of his former studio.

Carefully catalogued, restored and preserved, these negatives formed the basis for two exhibitions of Disfarmer’s photography – and catapulted him into the realm of well-regarded and celebrated Outsider Artists, his ability to portray the lives of everyday folk in a starkly realistic manner which has come to symbolise life in the mid-west of the United States in the middle of the 20th century.

Within Monochrome Memories, Cayla presents a collection of AI generated pieces which seek to both re-capture the core theme of her original physical world exhibition in that the subjects are (as per the exhibition’s sub-title) predominantly young / adolescent subjects pictured against a wall, whilst mixing-in a touch of Disfarmer in that that all carry either a neutral or (in some cases) slightly dour expression. In this way – and again like Disfarmer – they might be said to offer a stark, unblemished view of people joined not by art, but by the environment in which they live; thus offering a collective snapshot in time.

There is much that is attractive about this collection in its own right, as well as in the manner in which it seeks to offer an echo of a former display and present a reinterpretation of Disfarmer’s approach to photography. For example, I particularly liked the subtle use of self-portraiture (in terms of Cayla’s Profile image avatar) within the collection, and the little touches of humour (the bearded “JC” standing against a wall and reading a Bible-like tome and with a church steeple visible behind him, for example).

That said, I will admit that the very fact these are AI images at their heart gave me issues; I have an admitted ambivalence towards such art for many reasons – including the way in which I feel it can all too easily detract from an artist’s intent more than add to it. Here, for example, it was just a handful of images that kept demanding my attention; not because of the artistry or narrative evident in them, but because they looked to me as if the AI tool had simply lifted from photographs of Tilda Swinton, Bob Dylan and James Dean, Phil Lynott and others. Whilst not Cayla’s fault, this reaction lifted me away from an appreciation of her work and into the realm of pondering the merits of AI tools – and for that, I apologise to her.

Nevertheless, I do see this as an exhibition worthy of viewing, and thus commend it to you.

SLurl Details

• Saint Elizabeth’s Studio and Gallery (Dark Dreamer, rated Adult)

The Power of Hope is the title of the May / June exhibition within the ground-level gallery space at the NovaOwl Gallery, operated by Uli Jansma and Owl Dragonash. It features images by Christian Carter (and marks for me, I believe, the first time I’ve encountered his work in a solo exhibition)which are linked by a core theme, as symbolised by a vibrantly coloured butterfly.

[In] this exhibition I wanted to be uplifting. We all need more positive things, more smiles, more light.
Here I am telling a story about a butterfly that symbolizes a Hope and travels around the World. Travel with me…

Once you choose hope anything is possible.

– Christian Carter, The Power of Hope

What follows, across the two halves of the gallery space is a journey of images, some of them framed by quotes or aphorisms emphasising the power of hope, even in the more desolate or downtrodden aspects of life. The art is loosely grouped within the galley’s halls in terms of style and presentation: within the larger, airer hall are very large format pieces leaning strongly towards a black-and-white / monochrome finish, with the sub-divided space of the smaller hall presenting pieces sized to suit its wall space and within which the use of colour is much more prominent.

It’s a highly effective approach; with their focus perhaps more on the realities of day-to-day life as well as touching on the more metaphysical aspects of hope, the monochrome images give a clear symbol of the latter through the focused presence of colour or the considered use of reflections on glass to suggest brightness (and therefore hope), whilst their broader monochrome composition offers commentary on the realities of the present.

It is within this section that the exhibition has perhaps its most poignant pieces in the form of There is Always the Light and Despite all of the Darkness, both of which particularly speak to some of the malaise affecting modern society (waste and destruction / homelessness and our too-often indifference to it) – and the expression of hope that one day we will all overcome these issues and attitudes for the betterment of ourselves and others.

Within the smaller gallery space, the images are perhaps more metaphorical in nature, reflecting the aphorisms (some of which might be seen as truisms, but which are nevertheless lifted above the trite through Christian’s excellent artwork and use of colour). These are perhaps more uplifting images in terms of the richness of colour within them, although the underpinning truths they contain speak as clearly as those framing the monochrome pieces. In addition, further touches of social commentary might be seen in both some of the expressions written on the gallery walls and in the little 3D elements Christian has put together is support of his images (such as the little homeless bear in one corner).

Visually engaging and with a positive message for the future built on reflections on life, The Power of Hope will remain at NovaOwl through May and into June.

SLurl Details

• NovaOwl Landing Point (Novatron, rated General)

Raglan Shire, Second Life’s Tiny community, is once again opening its doors to people from across the grid, as participating artists and visitors are invited to the Raglan Shire Artwalk 2024.

This year, the the event runs from Sunday, May 19th, through until Sunday, June 16th, 2024, inclusive. It  offers an opportunity not just to appreciate a huge range of art from both the physical and digital worlds, but to also tour the Shire regions and enjoy the hospitality of the Raglan Shire community – one of the friendliest and fun-seeking groups in Second Life.

A non-juried exhibition, the Artwalk is open to any artist wishing to enter, and has minimal restrictions on the type of art displayed (one of the most important being all art is in keeping with the Shire’s maturity rating). All of this means that it offers one of the richest mixes of art displayed within a single location in Second Life, with 2D art is displayed along the hedgerows of the Shire’s pathways and tree platforms overhead and 3D art among the community’s parks.

Over 120 artists are participating in 2024, many for the first time. As such, the  depth and range of art on display is guaranteed to keep visitors exploring the paths and walks around and through the hedgerows – and if walking proves a little much, there are always the Shire’s tours to ease the load on the feet, together with the teleport boards to help move visitors swiftly around and through the different display areas. But that said, I do recommend exercising your pedal extremities and doing at least some of your exploration on foot – just keep in mind people do have their homes in the regions as well.

Given the number of artists involved, there isn’t a published list of participants, but anyone interested in the world of SL art is bound to recognise many of the names of the artists here. The Artwalk is also a marvellous way to see art from both our physical and digital worlds and for catch artists both familiar and new to your eye. Just don’t try to see it all at once; the Artwalk is open for a month, which gives plenty of time for browsing and appreciating the art without feeling overloaded.

SLurl Details

All of the Raglan Shire Artwalk regions are rated General)

• 2D Art Landing Points
  • Raglan Shire Artwalk Area 1
  • Raglan Shire Artwalk Area 2
  • Raglan Shire Artwalk Area 3
  • Raglan Shire Artwalk Area 4
• 3D Art:
  • Morning Shire Shire 3D Area 1
  • Heron Shire 3D Area 2
  • Athen Shire 3D Area 3
  • Raglan Commons Park
• My little corner

Life is what happens when you’re busy making other plans.

– Allen Saunders, 1957

I was reminded of the above quote – which is often and incorrectly attributed to John Lennon on accord of his 1980 record Beautiful Boy – when I visited Kit Boyd’s exhibition Details in response to a personal invitation for me to do so.

Open until May 23rd, 2024 at Monocle Man Gallery, which Kit co-manages with Lynx Luga, Details brought the quote to mind because of the manner in which it reminds us that the beauty and importance in life is not in what we are or do – but in who we are, how we treat the world and all the details that offer us pleasure and the opportunity to smile and simply to be.

From the moment one enters the foyer of the exhibition space, this over-arching theme is made clear thanks to a trio of images and a quote by artist Elizabeth Murray in celebration of the art of gardening. Supported by the considered use of props, this leads visitors into the main galleried room of the exhibition.

Here, Kit expands on that core theme, presenting us with images of things that can offer those receptive to them an ineffable richness of experience: reading, music, and luxuriating in the simple pleasures brought of a personal indulgence – in this case, that of the enjoyment of coffee.

I admit that as a pianist with a love of music and as a avid reader, Kit’s use of all three as motifs for Details immediately resonated with me, although I was particularly drawn to her use of coffee as a metaphor for the pleasure of personal indulgence, as the images (shown above) encapsulate and personify the detailed craft of home coffee-making, from the initial measuring and grinding of the beans through the anticipation brought forth by the resistance of a cafetiere (aka French press) plunger as it is being pressed down, to the first hint of that rich aroma and the promise it brings. There is a delight to be found in all of the little details of making and sharing coffee which to me make it less of a drink to be slurped and more of an experience to be savoured – particularly with friends at the end of a home-cooked meal.

Above these celebrations of music, reading and indulgence, and around the room’s gallery, Kit offers more reminders of how much pleasure can be had in pausing and taking time to enjoy the beauty and detail Nature has to offer.

To reach the gallery, visitors must take the stairs up from the foyer. Doing so means passing two more sub-themes with Details. The first – formed by Split Personality and Hang In There, both hanging over the stairwell – offers a neat underscoring of the central theme within Details, by drawing attention to the fact that modern life can so often mean losing sight of oneself the the daily struggle to deal with all the demands placed upon us.

The second sits apart from the rest of the exhibition both physically (being largely confined to a single room) and figuratively. It has within in a message that is increasingly important in this current era. Headed by the inspirational quote A woman Should be whatever she wants, it stands as an expression that women have a right to be themselves – not a chattel or confined by a role or title defined by society, but individuals free to express their own selves and indulge in those aspects and details of life which bring them the most pleasure and / or freedom.

In this I found Kit’s uses of images that might be considered erotic to be particularly effective; all too often, erotic expression by women is framed within the boundaries of male pleasure; but why shouldn’t we be free to express and enjoy such eroticism because it pleases us? Thus, within this small but effective display of six pieces (including Moonlight View on the wall outside), Kit frames a question about a woman’s right to self-expression and freedom of choice which casts a net far wider than the images themselves might initially suggest.

Details  is an elegant visual essay operating on several levels. One which can be enjoyed simply for the beauty of the art itself, or which can have those layer explored through introspection, recognition and consideration.

SLurl Details

• Monocle Man Gallery (Club Hub, rated Adult)