Category: Art in Second Life

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.

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• NovaOwl Landing Point (Novatron, rated General)

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.

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• Monocle Man Gallery (Club Hub, rated Adult)

Black Tulip Gallery is a small art venue operated by Zoey Rhodan (ElizabethZoey); one which I admit to not having come across before. Offering a boutique-style approach to selected art, Black Tulip is currently (as at the time of writing) hosting Women’s World, a sublime collection of work by some of Second Life’s most gifted female photographers and artists, each of whom has offered between one or two pieces from their portfolios for display.

Neatly split into three rooms in which the art can be easily viewed and appreciated, Women’s World features work by (and on the lower level) AmandaT Tamatzui (1 piece); Tallulah Winterwolf  (2 pieces); Monqiue Beebe (1); Bamboo Barnes (1); Louvre (1); Maghda (2); Joanne D’arc (BrazilianGirl49) (1); and Jullyane (Jullyane Python) (1). The exhibition continues on the level floor, reached via the external stairway, with: Rita Glad (Sanem Albatros) (1); Scylla Rhiadra (2); Raven Arcana (2); and Manoji Yachvili (1).

The art is richly engaging with all of the pieces framed, cropped and finished in a manner that underscores the talent of the artist behind each of them, allowing all of the pieces to be enjoyed in their own right. However, and given the overall title of the exhibition, they all perhaps – directly and indirectly – offer reflections on what it is to be a woman – both in terms of self and in terms of societal expectations. This latter point is, I admit, entirely subjective on my part; as regulars to these pages will be aware, it is my wont (correctly or otherwise) to attempt to peel back the layers of possible interpretation within some art and exhibitions.

For example, there is sufficient evocative power within Maghda’s The Void for it to be fully appreciated without having to look beyond its innate beauty and elegance – but through the application of measured depth of field, it also does perhaps convey the idea that all too often, a woman is looked upon purely in terms of her facial beauty, with the soft focus blurring suggesting what goes on within the head and mind behind that face is all too often overlooked.

Meanwhile, facing it through the arch connecting the two lower floor rooms are The Untemptation of AdamAnt by Tallulah and Moni’s Desire. Both are exquisite and unique in approach and execution, offering visually striking pieces; at the same time, one also perhaps raises thoughts / questions on the nature of beauty and what makes a woman desirable to herself or through the eyes of others; whilst the other perhaps a rightful rebuttal to patriarchal Christianity’s view that Eve (woman) led Man (the male) to “sin”, thus casting her more fully into the role of subservience.

Upstairs, we are perhaps more fully encouraged to cogitate the potential for subtext and narrative within the images offered, potentially because of the presence of Scylla Rhiadra’s work. Scylla is an artist who can challenge perceptions and present ideas with the most beautifully composed and presented pieces, encouraging us to look deeper, to pause and consider what her images are communicating. As such, for those who – like me – do enjoy stepping back and looking at the broader canvas (so to speak) of possible commentary, this might also cause the eye and mind to look towards Raven’s Heading Down and Laundry Day also as both as perfectly composed images captured from within Second Life and perhaps as comments on both the role of a woman as a mother and how (for too long) a woman’s role was constrained in terms of house and home.

In this, I could go on; but as I’ve noted, these are subjective and personal reactions on my part to the pieces. What should not be overlooked here is that Women’s World brings together some extraordinary digital artists, presenting their work in a manner than both emphasises the rich diversity of art and expression available through and because of Second Life, and does so – thanks to the galley’s size and general ambience – in a manner that encourages a level of intimacy with the art which might have been lost within a larger, more formal environment.

• Women’s World, Black Tulip Gallery (Locus Amoenus, rated Moderate)