Category: Art in Second Life

Open now at Artful Expressions, the boutique gallery curated by Sorcha Tyles, is the January 2017 featuring the art of Uma Sabra and KyRaLy (ElizzaLiza).  As with the opening exhibition at the gallery (see here), these are two artists perfectly suited to being displayed together, their styles complimenting one another perfectly.

Both artists focus on avatar studies, with each presenting pieces which largely – although not exclusively – focus of the face in close-up, with both opting for minimal backgrounds with their subjects. The resulting images are hauntingly evocative in tone, look and emotional content.

“I  think it is simply amazing that one can be able and can have all the freedom in the world to create digging deep into imagination,” KyRaLy says of Second Life. “It is a gift that one can see inside of things, the essence of things…” This is perhaps a perfect reflection of her work; each image is offering us a look not so much at her subject, but into them: who they might be, what they were feeling at the time the photograph was captured.

This is especially true of the images in which the subjects are not looking at the camera; by capturing them in a moment where their focus is apparently elsewhere, KyRaLy has imbued them with enormous humanity and vulnerability. Which is not to say those in which the subject is looking at the camera are any the less captivating for their emotional content.

Uma plumbs similar depths with her studies. However, where KyraLy has apparently chosen a number of subjects / faces for her pieces, Uma has focused largely on portraits of a single avatar. This makes them more intimate in presentation, as we are given the opportunity to share in the changing moods of the one individual cross a number of images – and perhaps, time.

Four out of her nine pieces are not limited to a facial portraits, but offer a more complete study (including on nude shot). These demonstrate a considered use of focus and background to produce pieces every bit as poignant as her closer studies.

As noted above, these are two sets of images by two artists who are well suited to side-by-side exhibition, and the display of their work at Artful Expressions is not one to miss. Bravo, as well, to Sorcha on her second exhibition, and for her choice of artists.

SLurl Details

• Artful Expressions (Adored, rated Moderate)

“When I put on paper or canvas a thought, a dream or something real, seen with my  eyes or perceived by my imagination, my concern is not that the others understand,” Grazietta Blauvelt (Grazietta Cazenove) says of her art. “But that [by] looking at those traits and those colours. they are able to get excited and to give a personal interpretation of what catches their eye from my paintings.”

I was recently able to experience this first hand, having received a landmark to the Ocean Inside Me Gallery, where Grazietta displays her work. I cannot in all honesty remember who passed the information on to me – my apologies to whomever it was; parts of the holiday season have become a bit of a blur so much was going on. But I offer my thanks, as it made for an enjoyable visit.

The gallery sits within a watery location, a set of round stepping-stones crossing the water from the landing point to the entrance. These bordered on one side by a 3D work by Gwen Ferox (violetile), and a story framed by a series of Grazietta’s paintings. Both reflect Grazietta’s love of narrative and in people allowing their imagination free rein.

Occupying the multiple rooms of the gallery’s two floors, Grazietta’s art spans a broad spectrum of formats: crayon, oil, watercolour, digital and pencil, with many encompassing two formats – oil and digital, oil and pencil, etc. The subject matter ranges from landscapes to portraiture to abstract, with many – most? – of the pieces exhibiting a bold use of colour and / or strong contrasts in their content – I found myself being constantly drawn back to Volando (“Flying” – seen to the left of the middle image in this article), for example such is the magnificent contract between what appeared to be a digitally post-processed photograph and an oil painted butterfly in full vibrant colour.

This are pieces filled with stories, ideas, imaginings and more,  as richly diverse as the styles used in their creation, all set within an environment which encourages one to linger. This is not only because of the comfortable chairs and opportunities to sit down found within the various rooms, but because Grazietta has extended her art into the very structure of the building, by re-texturing walls and stairways with some of her art.

All of the art is available for purchase, and a guest book is available for those wishing to leave a comment.

SLurl Details

• Ocean Inside Me Gallery (Meridian Bay, rated: Moderate)

 

 

“I’ve chosen to play on the definition of the word “saturation” to encapsulate two of my favourite recurring themes: colour and water,” Freyja Merryman says of her exhibition, Saturation, now open at the Paris METRO Art Gallery.

“I often find myself using the allegorical and transportive nature of water to reflect emotion. In a similar way, with the use of colour I hope to be able to convey, perhaps, an emotional and physical reaction. A visceral way to experience  the stories I try to tell. I hope you enjoy them.”

Within the gallery, which has been decorated to resemble a watery environment – both above and below the waves, given the colour scheme and overall setting – Freyja offers 14 avatar studies, all of which have been photographed in Second Life, then painted and finished in GIMP. All are striking, with all but two featuring water in some degree, and several incorporating that saturation of colour she mentions in her introduction.

But there is more here as well. Freyja notes that since entering Second Life in 2008, she’s become fascinated trying to recreate the enchanting symbolism of the myths and fairy story illustrations which have been an influence in her life since her childhood. Sometimes this has given rise to dark pieces, other times sensual, romantic or erotic pieces, all of which reflect Freyja’s Second life in some way.

Given this, it is hardly surprising that each of these 14 images carries within it a strong sense of narrative – far more than a single tale, but the feeling that were we to step into any one of them, we would find ourselves within an entire folk tale or legend. There is a sense of wonder with each of them which draws the observer to each in turn, even with Drowned I and Drowned II, which also seem to be experiments in light, colour and angle, whilst Drowned III, completing the trilogy, offers perhaps the most open door into the tale being told within them.

Facing these across the gallery space are three nude studies which I can only describe as utterly bewitching, whilst the magic continues upstairs with eight further pieces – and I challenge anyone not to be captivated by The Reflecting Pool.  A superb exhibition, and one not to be missed.

SLurl Details

• Saturation, Paris METRO Art Gallery (Paris Couture, rated: Moderate)

Second Life is an outstanding medium for presenting art, and 2016 has again seen a huge range of 3D, 3D and immersive art exhibitions and experiences presented to users, many of which I’ve been unable t include in these pages – my apologies to all of those I’ve missed.

While it may seem a little unfair given there is such a wealth of art available in Second Life, I’m taking this opportunity to point to three installations in particular which have caught my attention during the year. I’m doing so in particular with two because they will be closing on December 31st, having reached the natural end of their time in-world. However, all three are more than worth the time taken in visiting them, and so if you haven’t done so already, or if you did visit earlier in the year, I’d like to again offer them as destinations for your in-world time this holiday period.

The first of these personal choices is Invictus by Storm Septimus, This is a stunning  visual interpretation of William Ernest Henley’s famous 1875 poem of the same name – although it was initially untitled for around the first 25 years of its existence. It is a stirring statement of our innate determination to overcome the adversities we face in life, no matter how dark, and that even with the portal of death awaiting us, we alone determine our fate.

As I note in my review, Storms design leads the visitor through scenes evoked by the words of Henley’s poem, guided by the verses themselves. The imagery throughout is powerful, reflecting not only the theme of the poem, but also a sense of Storm’s own experiences, which themselves add to the sense of immersion we experience. Across a wild stretch of water, reached via rowing boat (symbolic of the fact we are captains of our souls) sits the serene setting of a ruined cathedral. While outside of the poem itself, it is not out-of-place within Storm’s installation, providing as it does a place for contemplation and reflection, complete with symbolism reflective of the poem’s heart.

Preiddeu Annwn, designed and built by Hypatia Pickens, a professor of English at the University of Rochester,  New York, and her students, is a fabulous visualisation of the famous gnomic / philosophical Middle Welsh poem, Preiddeu Annwn (or Preiddeu Annwfn, “The Spoils of Annwfn“). As I noted in July 2016, its function is to provide an interactive means by which the poem and its themes can be explored and better understood, both within itself and with regards to broader medieval Welsh mythology and medieval literature. It is also an extraordinary piece of scholarly art.

The installation allows visitors to explore the poem through and open cycle of paths beautifully laid out in an underwater environment which presents a sense of entering the Otherworld of the poem. For those who follow the route through to the point of “following the waves” can visit a medieval studies library containing holding in all aspects of medieval literature, history, art and theology.

My final recommendation is another installation due to close on December 31st, having also reached the end of its allotted time within Second Life. It is Tahiti Rae’s EVRE, which opened in September, and formed the subject of an article in this blog shortly thereafter.

EVRE has been very much a living installation, host to numerous events and discussions since it opened, all of which have been reflective of the philosophical core of the installation: are we everywhere at all times?

As I noted at the time, Tahiti is one of the more thought-provoking, consistently engaging and visually aware immersive artists in Second Life, and this is amply demonstrated within the 13 environments present within EVRE, which conduct us through a study of consciousness, connectedness and time. Rich in content and ideas, it fully deserves exploration and consideration; if you haven’t done so already, I strong urge you to find time to visit it before the year’s end and immerse yourself – Just as I do with both Preiddeu Annwn and Invictus.

SLurls and Links

• Invictus (LEA 25, rated: Moderate) – blog post
• Preiddeu Annwn (Sunray, rated: Moderate) – blog post
• EVRE (LEA 27, Rated: moderate) – blog post

This is the time of year when Second Life – as I’ve mentioned before – is awash with winter landscape, and many of us are out and about photographing and filming them (you can expect a few more in these pages when I’ve caught up with myself 🙂 ). But what about images of real life winter scenes?

Nils Urqhart is currently exhibiting a series of his physical world photographs at the Serena Imagine Arts Centre under the title Un Conte d’Hiver (“A Winter’s Tale”) present some 29 (including the one in forming the entrance to the exhibit images of snow scenes captured in the Bugey region in eastern France, where it forms a part of the department of Ain. If, like me, you’re a Tour de France fan, you’ll recognise it as the home of the Col du Grand Colombier, one of the most punishing climbs of the tour.

The Col doesn’t feature in these images, however. Instead, what we are treated to are marvellous winter landscapes. Snow lies heavy and deep on the ground; it gives a frosted finish to trees and lies centimetres deep on rooftops and piled atop fence posts. Skies are overcast such that the horizon softens into them, the snow encouraging a gentle merger where in summer, green hills might will stand out sharply against blue skies.

Across this landscape, Nils has pictured rustic houses and barns and a beautiful church, all of which seem to huddling down against the snow and the cold, holding their heat and warmth tight within. Elsewhere, young people walk hand-in hand, stand on skis or throw snowballs, their bright coats contrasting loudly with the white snow surrounding them.

To call these images picturesque would be perhaps demeaning of them; they are quite stunning in their composition, so much so that one feels it is possible to step within them and scoop up the snow or leave fresh tracks across its pristine blanket. But there is something else here as well. Such is the refinement in these pictures, it feels they are further blurring the line between the physical and digital, as if some of them are of locations which can be found not only in Bugey, but also in Second Life.  My only disappointment is that the space in which they are displayed really doesn’t do them the justice they deserve.

However, if you are looking for images of winter and snow of a different nature to those reflecting regions of Second Life, I recommend this exhibit. Be sure to find your way to the centre of the exhibition and Nils’ Christmas greeting.

SLurl Details

• Un Conte d’Hiver (Serena Imagine Arts Centre, rated:  Moderate)