Polychronies: looking upon an ancient future

Polychronies
Polychronies

Polychronies, Gem Preiz’s latest exhibition of his RL fractal artwork opened on Monday February 24th at the Le Bronx gallery. As with his recent exhibits Cathedral Dreamer, and Ride The Universe, both of which I’ve reviewed in these pages, it’s a fascinating exhibit, with some seventeen of Gem’s pieces on display across seven rooms.

As with his previous exhibitions, there is a central theme to this piece; this one somewhat a mix of ancient astronauts and futuristic science-fiction. It seems a race of ancients one populated the universe and built great temple-like structures and enormous cityscapes which have survived them. Having stood empty for millennia, these great structures now stand as an enigmatic reminder of a much older race as our own descendents reach outward to the stars. Yet who or what that race was, and how they may or may not be related to us, remains a mystery perhaps hidden in the depths of these magnificent temples.

Polychronies
Polychronies

To get to the exhibition, teleport down from the region’s landing point to the ground (Le Bronx). You’ll arrive alongside the gallery’s foyer, where you can pick-up a catalogue of paintings featured in the exhibition, which also includes the backstory. There’s also a freebie spacesuit on offer if you feel like really getting into the mood. Three circular teleports are available to transfer people to the exhibition space itself.

Here Gem’s work is displayed within a series of interconnected rooms, with two or three pieces mounted on the walls per room. Semi-transparent walkways direct you through the exhibit, passing through some of the images or through bare walls along the way.  The images themselves are truly stupendous, and Gem has done a huge amount of work to bring his pieces into SL and present them in what are effectively seamless montages up to 50 or 60 metres in length. Such is the wealth of detail, I’m not sure the pictures here are going to do any of them justice; they really do have to be seen.

Polychronies - the detail evident in the individual pieces is captivating
Polychronies – the detail evident in the individual pieces is captivating

As with Cathedral Dreamer,  a powerful feeling is evoked when camming slowly over the incredible structures displayed in each painting; the three-dimensional feel within each of them makes one long to be able to step into it, to see the tall towers reaching into strange skies from within, to look out over their majestic vistas and feel the light of the alien suns which have warmed them through the long millennia and, ultimately, step into their myriad rooms and discover the secrets they hide. In short, to truly be an astronaut explorer making the most incredible archaeological finds of human history.

Polychronies is another marvellous examination of the beauty of fractal art, and for those who have the physical in-world space, one which can be enjoyed at home, as each of the pieces on display is also available for sale.

Definitely not one to be missed.

Polychronies
Polychronies

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The eyes have it

Eyelands
Time Tunnel and Eyelands

I enjoy a little bit of science-fiction, as regulars here will know; I also like a little touch of the surreal as well. Given both are in evidence in artist and photographer Ronda Saunders’ Time Tunnel / Eyelands exhibit, I was bound to want to take a look.

These are actually two individual installations linked together to form a whole. The first, Time Tunnel, is where explorations start. The second part of the piece, Eyelands (or Eyeworld), is based upon on a piece Ronda created and exhibited at the Nitroglobus gallery in February / March 2013.

I have to admit, the warning sitting alongside the stargate-like wormhole which forms the starting-point for your journey into these immersive spaces isn’t entirely reassuring. Cybertech industries thanks you  for using their intra-dimensional transport systems it reads, kindly enough. However, it then continues, And accepts no responsibility for your safety. Eep! Other warnings are visible which may discourage the faint-hearted; however, follow their guidance, and you’ll be quite safe.

Eyelands
Time Tunnel and Eyelands

Step through the event horizon of the wormhole, and you enter a rotating tunnel which leads to a further walkway. Beyond the protective walls of the surrounding tunnel strange life forms can be seen: plasma-like creatures, swirling, rising, falling and moving as if on an invisible tide. Between them flit and flicker other creatures, their eyes protruding stalk-like, while groups of lights, mindful of the Phoenix Asteroids1, zoom by.

Eyelands
Time Tunnel and Eyelands

At the end of the tunnel sits a teleport system, set to deliver you to the second half of the exhibit. It is here that things get very surreal.  Rocky outcrops float in a strange sky, the two largest of which can be reached by wood-and rope bridges. Upon these, tall, mushroom-like plants grow, their tops featuring eyes which turn, split, swirl and slide in a series of repeating patterns, and from which more eyes cascade in silent torrents to the ground under them. Between these growths are more eyes, flittering back and forth skittishly, while grass-like expanses of eyes of all sizes seem to ripple in an unfelt breeze.

It’s a strangely hypnotic landscape (more so if you have the music stream on); one I’m not sure words and images really do justice; as such, I can only urge you to go and see this remarkable piece for yourself.

Eyelands
Time Tunnel and Eyelands

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Of monsters and B-movies

Creature from the Black Lagoon
Creature from the Black Lagoon

While poking at Flickr, I was caught by an image posted by Livio Korobase. An Artist In Residence for the 5th round of that programme, Livio really caught my eye with his Musiclandia installation, so knowing he’d received a region from the LEA as a part of AIR round 6, I was intrigued to find out more, particularly as the image included a SLurl.

Creature from the Black Lagoon is very different from his earlier work, and yet at the same time somewhat similar in that there is strong subtext here, if one is willing (or familiar enough) with the imagery to see it.

Creature from the Black Lagoon
Creature from the Black Lagoon

This is gorgeous homage to the B-movies of old, focused primarily on the 1954 Bill Arnold monster movie from which the piece takes its name.  The choice of the film is actually clever on a number of levels – including the fact it was originally a 3D production using polarised light projection (so that audiences used glasses similar to those us use in cinemas today rather than those of the anaglyph 3D type), so seeing the creature rendered in 3D in-world fits very much with the original format of the film.

It’s also a somewhat whimsical piece as well. In the midst of giant monsters from the deep, cards commemorating some of the great (and not so great!) B-movies of old and oversized animals, floor polishers motor themselves industriously back and forth across the beautiful, reflective floor of the piece. The whimsy in their presence is not only that they are there, but in that you can ride them … However, they also have a place in the larger scheme of things; how often have we watched a film in which, late at night, the hero (or more usually the heroine) passes a lone worker busily polishing a floor, only for the machine to suddenly stop and / or the worker to vanish from behind them? It’s a signature scene telling audiences to get ready to jump as Something Is About To Happen.

Creature from the Black Lagoon
Creature from the Black Lagoon

Similarly, the installation includes the familiar – dare I say clichéd – indicators beloved of B-movie directors to identify the scientific mind in their story: the horn-rimmed glasses and briar pipe. There is something of a romance here as well; although it’s not necessarily centred on any hero and his heroine; rather it seems as though our creature may have romantic inclinations towards his leading lady …

For those wishing to immerse themselves in the genre, there’s a movie theatre where you can climb the ladder and watch scenes from the movie; you can grab a packet of popcorn from the vendor amidst the cards. However, I feel I must advise those of a particularly nervous disposition that unfortunately there is no sofa to hide behind during the scarier moments … 😉

Creature from the Black Lagoon
Creature from the Black Lagoon

The installation is still something of a work-in-progress, although Livio is happy to receive visitors there. When you do  visit, please use the region windlights; they are quite striking and provide wonderful additional texture to the piece.

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Upon reaching a singularity

The Singularity of Kumiko, February 2014The Singularity of Kumiko – Click to see all images full size

Bryn Oh opened her latest immersive piece The Singularity of Kumiko on Friday February 14th – and believe me when I tell you, it is something you are really not going to want to miss.

It’s an amazing piece, demonstrating the visual  and intellectual power evident in Second Life as a medium for expression, art, discussion on the nature of death and the potential to live beyond it, and for creating an immersive, involving narrative.

The essentials lie within in communications involving two people, Kumiko and Iktomi, who are an ocean apart. Some of these (from Iktomi) come solely in the form of messages in a bottle, while some of those from Kumiko take the form of the spoken word as well a bottled missives.

The Singularity of Kumiko, February 2014The Singularity of Kumiko

These have a strange dynamic which immediately draws one into the story, making one a part of it. The discussion revolves around loss (and being lost), the potential for immortality (of a kind) which Iktomi appears to have perhaps embraced and tried to have Kumiko to do likewise, perhaps almost desperately so, although how or why – or what has happened is something which must be pieced together.

I say “pieced together” because the narrative is entirely non-linear. The exchanges between the two are scattered across the region, and one must discover fragments through exploration and discovery of the bottles (and where present as well, the microphones), which are to be found in small vignettes and scenes through the region, some of which are almost connected by broken roads, while others are linked by narrow passageways or sit on open plains or within the house you’ll (eventually!) find.

The Singularity of Kumiko, February 2014The Singularity of Kumiko

This may sound easy; but trust me, it is not.  Bryn has created an environment that is very, very dark, and visitors are reliant upon a headlamp and points of local light. The result is that you almost have to feel your way around the installation, distant points of light drawing you forward until a scene appears in front of you, like a sudden flash of memory in the darkness or a connection with … something … In this way, Bryn powerfully draws you into Kumiko’s world and her condition – although precisely what her condition is may not be apparent. This is also intentional; you are on a journey of discovery, one in which you very much become a part of the story itself.

Be warned, however. This is also a dangerous place. Just as death, and survival beyond it, form a part of the exchanges between Kumiko and Iktomi, so to can you experience both in your travels. Damage is enabled, and “death” can be visited upon you by an aggressive rabbit called Mr. Zippers”.  Once a much-loved toy from Kumiko’s past, offering her protection (comfort), Mr Zippers is here transformed into something far more physically protective of her. Listen-out for the squeaking wheel in the darkness and get ready to run …

The Singularity of Kumiko, February 2014The Singularity of Kumiko – watch out for Mr. Zippers!

Imagery throughout the installation is incredibly powerful and multi-faceted. Not only is it in the extraordinary exchanges between Kumiko and Iktomi (some of which are beautifully brought to life through the voice of Jenna Stillman (Akonia Resident) as well as through Bryn’s writing) and the vignettes one encounters while exploring, it is also in the soundscape one experiences whilst exploring; there is even reference to Bryn’s earlier work, Imogen and the Pigeons. Together these help give one a sense of familiarity with Kumiko (through exposure to Imogen), whilst also immersing us further into Kumiko’s world and situation.  similarly, the title of the piece and the use of the term “singularity” suggests multiple approaches to the work, depending upon whether own looks at the word in terms of complex analysis, natural sciences, literary studies, technology or science-fiction.

To be enjoyed to the fullest, you’ll need to set-up your viewer in accordance with the instructions given at the arrival point. Note that having the Advanced Lighting Model option in Preferences > Graphics is preferred (although you don’t need to have shadows enabled as well). This may impact the performance of some low-end systems, but if you can manage it, your experience in seeing the various elements of the build will be greatly enhanced.

The Singularity of Kumiko, February 2014The Singularity of Kumiko

Bryn has done much to try to reduce lag within the region as much as possible, up to and including limiting the numbers allowed in at any given time to just 10-15, something which means you may not get a successful TP to the region at times, but which also further heightens the sense of immersion, as you’re less likely to bump into others.

Several people have helped Bryn bring this piece to life; they are listed in an acknowledgement posted in the arrival area. They should all feel justifiably proud of their input into this piece. Without wishing to overstate matters, it really is remarkable.

This most definitely is not one to be missed.

The Singularity of Kumiko, February 2014The Singularity of Kumiko

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Drink it with your eyes

Jadeyu Fhang  - Gallerie Artemis, inspired by Drink Me With your Eyes
Jadeyu Fhang – Gallerie Artemis, inspired by Drink Me With your Eyes

In October 2013, the collaborative teaming of Natascha Randt & Karima Hoisan produced their 12th production, a machinima shot in Second Life featuring a poem by Karima set to music.

Called Drink Me with Your Eyes, it’s a highly sensual piece, strong in imagery and metaphor, particularly in the use of horses (desire) and stampedes (desire leading to passion and release) and the power of dance. It is, in a word, erotic.

Inspired by the video and opening at 14:00 SLT on Thursday February 13th at Gallerie Artemis, is a new exhibit by Jadeyu Fhang.

Set over the two floors of the gallery (look for the small record inset into the floor to one side of the ground area of the installation, next to the table and chairs), it features number of small vignettes, which either present or suggest scenes from the video.

Jadeyu Fhang - Gallerie Artemis, inspired by Drink Me With your Eyes
Jadeyu Fhang – Gallerie Artemis, inspired by Drink Me With your Eyes

Some of these are clear references – such as the horses running through water; others are more subtle, such as the empty chairs and table on the ground floor or the naked figure sitting atop a wine glass, eyes glowing faintly.

The installation comes with a windlight setting (midnight), together with a request hanging in the mist at the entrance that viewers be set to night for the benefit of those who miss the windlight prompt. If you have Firestorm  or a viewer with extensive windlight presets installed, I suggest you take a moment and have a little play with night-time options; some interesting results can be had.

Jadeyu Fhang - Gallerie Artemis, inspired by Drink Me With your Eyes
Jadeyu Fhang – Gallerie Artemis, inspired by Drink Me With your Eyes

One small word of caution: the installation includes a screen for playing Drink Me With Your Eyes in-world. However, there is  an ongoing issue between the webkit within the viewer, Flash and YouTube which can render the latter unwatchable via Media on a Prim in-world (see my report here). This being the case, you’re better off watching the video directly on YouTube. This doesn’t however, impact in any way on the installation itself.

Related Links:

Jadeyu Fhang - Gallerie Artemis, inspired by Drink Me With your Eyes
Jadeyu Fhang – Gallerie Artemis, inspired by Drink Me With your Eyes

Get ready to immerse yourself in the Singularity of Kumiko

Kumiko-poster

Bryn Oh will be unveiling her newest immersive piece on Friday February 14th, and it is something very special, as I found out after she kindly invited me to pop over and have a look.

The Singularity of Kumiko is an interactive story in which the visitor is very much a participant, and as such, open to some of the dangers inherent in the narrative!

The Singularity of Kumiko - opening February 14th
The Singularity of Kumiko – opening February 14th

Describing her approach to the piece, Bryn says, “As with Imogen and the Pigeons, I am attempting to look at the virtual medium and determine what is unique about it over other mediums such as painting, sculpture and cinema. Then I work towards using those strengths to create an immersive experience that is specific to a multi user environment. ”

As a part of the invitation, Bryn specifically asked me not to include any photos which might spoil the narrative of the piece, and I hope those included here meet that request. What I can say, having spent time exploring, is that this is a unique and engrossing piece, and Bryn’s note about possibly feeling lost and anxious at some points is true – it does add to one’s involvement in the story!

I’ll have more nearer the opening, but in the meantime, here is a stunning teaser / trailer of the piece from Bryn – and You’ll want to watch it!