Category: Art in Second Life

Opening on Wednesday, September 2nd, 2015 at Dathúil Gallery, owned by Max Butoh and curated by Lυcy (LucyDiam0nd), is a new exhibition by Maloe Vansant, entitled Faces of Longing and Grief.

As the title suggests, this is a series of studies of the human face – mostly female (Maloe herself, I believe), although Maloe’s partner, Burk Bode, is also featured – in which the focus is very much on the emotions either displayed within the subject’s expression, or conveyed by the pose itself.

Maloe uses quotes to describe the exhibit, of which a short extract from Barnacle Love, by Canadian novelist Anthony De Sa is perhaps the most informative:

The Portuguese call it saudade: a longing for something so indefinite as to be indefinable. Love affairs, miseries of life, the way things were, people already dead, those who left and the ocean that tossed them on the shores of a different land — all things born of the soul that can only be felt.

And indeed, there is a longing and a sense of sadness, a hint of grieving, an echo of death to be seen as one wanders through Dathúil’s hall and examines each of this large format images in turn. But to think of this as a “dark” or “depressing” exhibition would be a mistake.

There is a raw, emotive power to each of these images – either within it, or in the response the observer has to it, or both. It is very hard, for example, not to imagine learning into one and kissing the worries of the subject away and giving a loving reassurance, or taking the hand of another in comfort  and offering to share the burden of sadness.

The use of colour and of black and white in the images is equally striking in how they bring the emotions of an individual piece to the fore and regulate the observer’s response. A series of four full-colour images on one wall (seen above), for example, tend to evoke a very strong – dare I say “louder” – emotional response when compared to the black-and-white studies, where the emotional content is perhaps more constrained within the image itself, and our own response is similarly toned down by the more monochromatic presentation.

Some of the images balance the use of the colour against a more monochrome look –  as with A touch of Melancholy and Just Want to Blend In (seen below), for example. The result is something of a different texture and feel to the emotion / feeling s captured within the image and in one’s own response. I admit to becoming quite captivated by these two pieces in particular.

All of which is a long way of saying that these are studies where it is next to impossible to not yourself feel emotionally involved. The story behind each image may not be clear, but the desire to offer comfort, support, love, companionship is unavoidable.

This is yet another outstanding exhibition of an artist’s work which further enhances Dathúil’s reputation as one of the leading galleries in Second Life. Lucy is to be commended for arranging Maloe’s exhibit, and Maloe herself congratulated in bringing together images to present such a powerful and emotive subject.

Faces of Longing and Grief formally opens at 13:00 SLT on Wednesday, September 2nd, and will remain open through until September 30th, 2015. You can also find more of Maloe’s work on her Flickr stream.

SLurl Details

• Dathúil Gallery (Rated: Adult)

Over the course of a century, Le Fantôme de l’Opéra’s  cloak has been thrown wide to encompass many retellings and adaptations in every medium – film, radio, stage, television and print – since Gaston Leroux first saw it serialised in the pages of Le Gaulois in 1909/10. Many of these adaptations, such as the 1943  film starring Claude Rains in the titular role, have themselves been folded back into the original story, adding to the legend.

And now, through until October 21st, that cloak has been thrown over MetaLES in the form of a tribute to the original story and some of its many interpretations, entitled A Bit of Red, by Kicca Igaly and Nessuno Myoo.

Floating over the landing point on a series of large blocks (between which it is possible to fall if you’re not careful), lay key scenes from the story.  Most will be recognisable to those at least familiar with Andrew Lloyd Webber’s 1986 musical production (and short notes, indicated by the presence of a rose or rose petal, help give context to each scene), although the influences do go back to the original tale, and reflect some of the other many adaptations.

Thus we have, for example, the motifs of the Phantom’s mask and the opera house itself (although sadly, not the great chandelier); there is a familiar great pipe organ, from which huge spherical notes  float, and there is a the ruin of a boat, and an iron grate through which one can drop to a tunnel below, all representative of the story; the last referencing the labyrinth of tunnels and cellars beneath the opera house and which play a key role in the tale. Finally, raised above the centre of everything, is a dais on which Erik, Le Fantôme and Christine stand, separated by a mirror, symbolically broken on one side, whole on the other.

Alongside of these there elements rich in symbolism, such as the broken cage. In it we can see Erik’s desire to hold Christine as his own – captive, if needs be – and also his change of heart towards her in setting her free. It also, perhaps, symbolises his own heart held captive to her and destined only to be broken. Or if you prefer, there is an alter, reminding us on the one hand of Erik’s attempt to force Christine to marry him under the threat of destruction and the death of others, and on the other of her love for Raoul and her desire to be with him.

Then there is the memorial to Christine. It both serves as an affirmation of Erik’s promise to the Persian within the novel that he did indeed set both Christine and Raoul free, and as a reference to the  2004 Joel Schumacher film, carrying as it does Christine’s married title and her dates of birth and death.

In all A Bit of Red has been carefully constructed and does present an interesting reflection on Leroux’s work and its various offspring. The intricate design the weaving of the key aspects of the tale into understandable vignettes is undeniable. Nevertheless, in exploring, reading and witnessing, I couldn’t help but feel I was merely that: an observer. I didn’t feel as involved in the installation as I had perhaps hoped on my arrival; the Phantom wasn’t there, inside my mind, so to speak. Perhaps he’ll be in yours.

 

 

You may notice that my coverage of the arts in Second Life often circles back to the work of Cica Ghost.  The reason for this is simple: there is always something beautifully attractive about her work that draws me to it like a magnet.

Open now at Luna Isle, Strings is perhaps the most marvellous installation she has yet produced in a very long line of outstanding works created within Second Life; it’s a magnificent example of why I am so attracted to her art. And believe me when I say, this is not one you’re going to want to simply read about; – it is an absolute must see.

The initial tableau appears simple enough. On what might be the edge of a town, overlooking open country, or perhaps in the courtyard of an old villa now converted into little houses and apartments, a string quartet with piano accompaniment plays as others look on and listen with what seems to be varying degrees of interest – or even attempt to ignore.

Or is it really that simple? Look closer; this isn’t a single tableau; this is a collage of stories brought together in a single quilt of moments caught in time, framed by the music from the little quintet. As you look at the people gathered in the courtyard, on the balconies or sitting in their rooms, you can gain  glimpses into their lives.

I use the plural there not just because there are multiple watchers / listeners. but because the glimpses you catch of any individual or group of lives will change depending on where and how you observe them. Thus, each scene within the overall story is itself made up of multiple threads – strings, if you will – which combine in different ways to tell more than one story.

Take, for example, the woman on the middle balcony; is she actually listening to the musicians, or is she a harried mother seeking a moment’s respite and relative calm from the constant demands of a young daughter as the latter guzzles a glass of milk. Or is the little girl taking advantage of her mother’s distraction to help herself, and if so, what is it that is so occupying he mum’s mind? The music or something else?

The answer may lie on the balcony to the woman’s left, part of the same apartment and occupied by a lone man. Watch him closely; he also is not really listening to those below. Together his actions and the apparent air of pensiveness around her tell a story of their own.

Meanwhile, in the neighbouring apartment, a man sits over a chess board, the game frozen, his companion absent. Is she perhaps the motherly figure looking out of the window of the next room, or the daughter-like figure standing out on the stairway, both now looking out over the musicians.

But if the music was the cause for either of them to leave the game, why did they not simply go out onto the balcony of the room itself? why go elsewhere just to watch and listen? Could the young woman who has placed a distance between herself and the houses, standing alone, a forlorn expression on her face be the cause of their vigil? Or again, has she a story of her own to tell, and there’s yet another story to be found within the chess-playing family?

And thus it is with almost everyone we encounter here; what may at first seem a simple act – a glance, a hand upon another or a face at a window or even a book open on a person’s lap may seem to suggest one thing – but is that really the entire story? There are many threads – or perhaps I might say strings – here, which can be woven into many patterns by the eye and mind; thus we become more than visitors: we become passive participants in all we see; and quite wonderfully so.

Which shouldn’t be taken to mean the scene isn’t remarkable in and of itself without seeking deeper meanings. Strings is a wonderful piece of art whether taken as a whole, or studied at length. The characters inhabiting this little corner of the world all have their own personalities, whatever story you chose to tell, and they are beautifully designed – as is the region as a whole, filled as it is with Cica’s familiar touches and motifs. And if you fancy a dance, do be sure to touch one of the many stone cellos scattered around.

Finally, there is the audio stream, beautifully crafted by Cica to perfectly compliment and complete the central scene with the musicians, showing them to be a really talented group! I mean where else will you get to hear a string quartet offer a repertoire with everything from Queen’s Another One Bites The Dust and Bohemian Rhapsody through the likes of the Rolling Stones, Ziggy Stardust / David Bowie, Level 42, film soundtracks and The Phantom of the Opera, plus more, to arrive at O Come, Emmanuel?

These guys are wonderfully creative in their music – and Strings is a wonderfully created and creative playground for the eye and the imagination. Don’t miss it.

SLurl Details

• Strings, Luna Isle (Rated: Moderate)