Category: Art in Second Life

Having opened on June 29th, 2023 at the main gallery area of the Kondor Art Centre operated and curated by Hermes Kondor, is an evocative and provocative exhibition by UK-based Janus Fall.

Combining classical poetry, digital images, global current affairs, the increasing dichotomies of society, and reflections on human nature, Auguries of Innocence is a visual essay of juxtapositions and contrasts offered as commentary on the current downward spiral of intolerant, insensitive, judgemental otherism (of others) and denial (of others and also of things like our impact on matter of climate change, etc.) which is too quickly becoming the accepted state of being within large portions of modern societies (particularly those known for their previously more liberal lean), when we really should by now know better.

The exhibition takes its title from the 132-line, single stanza poem of the same name by William Blake. Like much of Blake’s work, the poem did not gain recognition until well after his death in 1827; in fact, despite being written in the early 1800s and going to be frequently quoted (particularly the opening four lines), it didn’t actually see the light of publication until the late 1860s.

In content, the poem might be seen as a plea by the poet for humanity to do better, lest we lose all we have been given under the judgement of God. In this it contrasts the cycle of nature, wherein the world is constant reborn and remade, all the time growing in both nurturing innocence and experience / interconnectedness, with the cycle of humanity, in which we are born into that same innocence of nature, only to push it aside as we grow into adulthood, replacing it with self-serving corruption and inhumanity towards others and nature.

However, the poem is not only notable for its content, but also in its structure, which is as intentionally complex as the subject matter it contains. Throughout its length, Blake frequently switches both rhyming schemes (e.g. alternative rhyme to rhyming couplets) whilst mixing different forms of meter (e.g. trochee and anapest) with the predominant iambic meter, whilst also using a range of literally tools such as alliteration, repetition, metaphor and – most notably – juxtaposition and paradox.

Within this structure, the opening four lines act as both an overall introduction to the poem’s concepts and also offer guidance on how the imagery within the rest of the poem should be interpreted. Within Janus’ exhibition, those four lines perform something of the same purpose; working with a diary extract written by a 16-year-old girl seeking to escape the war engulfing her country, they offer both an introduction to the images presented within this exhibition and give context in how they should be viewed both cognitively and physically. In terms of the physical, they – and the extract from the diary – are to be found on the left front wall of the gallery as you enter it, to form a potential starting point for viewing the mages, encouraging visitors to progress from there  and around the lower floor to the stairs and the upper level, thence back down to complete the circuit and finishing at the artist’s final notes and Memorial to a Woman in a Field.

The images are striking, Janus reflecting the diversity of styles and techniques Blake uses within his poem within each of her images. Where he uses metaphor, alliteration and simile, she uses technical and artistic approaches such as motion blur, superimposition and Chiaroscuro. However, most strikingly, Janus matches Blake’s use of juxtaposition within her images, most notably through the placement of the natural beauty of the women in her images against their backdrop. Whether drawn from images initially captured in Second Life or the result of digital manipulation of images produced outside of SL (and possibly using AI toolsets?) matters not.

There is so much to unpack in these pieces, that it is possible to end up writing a treatise. The aforementioned Memorial to a Woman in a Field for example, offers so much to consider, from the manner in which it presents what should be harmony between people and humanity and nature, through to the way it offers a subtle reflection of Blake’s deeply held Christian beliefs whilst rejecting the constructs of organised religion for the manner in which it encourages the corruption of self  through the promotion of judgemental intolerance and denial of anyone who can be branded as “others” – something which we can still see only too well within modern society.

However, rather than ramble on, I think Janus herself does more than enough to present her work as it should be seen and understood. Certainly, Auguries of Innocence does much to offer a questioning challenge to us, one with which Blake himself would doubtless agree: given it is now over 200 years since he wrote the opening lines of his poem, isn’t it about time we finally started putting aside self-centred and social indifference / cruelty to one another and tried to be better, both for the benefit of others and the world as a whole?

SLurl Details

• Kondor Art Centre (Waka, rated Moderate)

It was back to Psygallery, operated and curated by Twister Grut in mid-June for me, this time to view another pairing of exhibitions within the gallery spaces by two very different artists. While each is entirely independent of the other, they nevertheless might be seen as being linked by a thread of – well, life (or at least, within the context of celebrating life).

Within the two-level main hall of PsyGallery sits Embryos by TerraMerhyem. No liner notes are provided for this selection of work, spanning as it does both static and animated pieces. However, given it is by Terra, you can expect it to be nothing short of expressive, and each of the pieces visually engaging. The one set of notes that are provided come in the form of reminders on the floor of each level within the gallery that Advanced Lighting Model should be enabled (Preferences → Graphics → make sure the option is checked) in order to see the works at their best.

For most of us, the term embryo most likely brings to mind the stage of human life following fertilisation through until the  ninth week after conception, with mental images of of the growing embryo lying within the womb as it commences its journey towards / into life. Some of this is perhaps evident in the static pieces presented here by Terra, showing as they do male and female human forms contained within protective spheres, like embryos within the womb. However, give that the figures in their spheres are fully-formed adults means this is not an artistic treatise on life per se; rather it is perhaps more of a comment on the fact that from beginning to end, life is a continuous process of growth, maturation, change and – for all of its gregarious opportunities – ultimately isolated and individual.

That no influence is exerted by the artist on how we opt to interpret these pieces, thus leaving us free to interpret them as some form of commentary – per the above – or purely as purely visually engaging, highly creative and imaginative pieces of art similarly enhances the appeal of the 2D pieces; allowing each to be taken as a whole unto itself, or – in the case of four of the pieces – artistic pairings.

Similarly, how we interpret the animated pieces, which mix 2D and 3D creations, is left to out own processes of thought and reaction to art and design. Utilising geometry, images and colour to rich effect, these are pieces literally pulsating – one might say beating with the rhythm of a healthy heart – in a manner which is strikingly beautiful whilst still carrying that suggestion of life and change we might opt to see as a possible message within the static pieces, through both the regularity of their pulsations and their gently repeating motions.

On the uppermost level of the gallery, and reached via the teleport board is Summer Solstice, a series of images by Canaris Restless offered as a visual essay on the subject of the titular event and how it is viewed by different cultures, past and present.

As Canaris notes, the Summer Solstice has been, and remains for many, a time of new beginnings, and / or renewal of life and growth; a time when all that is good about life is celebrated as the cycle of life moves ever forward; and within this might be ween the thread linking both of these exhibitions into something of a themed whole, if one chooses to do so.

The smaller of the two installations, Summer Solstice is marked by Canaris’ elegant photography captured within Second Life and by free-standing displays of (literally) heliocentric art reminding us of the reality that the Sun – whilst perhaps not worshipped as once it was – truly remains the most prominent giver of life for our world.

Two very visually engaging exhibitions by two very different artists they many, but Embryos and Summer Solstice do compliment one another in terms of potential themes and ideas, so do be sure to see both when visiting.

SLurl Details

• PsyGallery (Charm, rated Adult)

Intolerance of others, whether based on gender, ethnicity, religion, and /or sexuality has throughout human history been as much responsible for human suffering, depredation, subjugation and death as any of our multitudinous wars throughout the ages (with religion and ethnicity themselves being two of the most obvious causes of war / conquest).

In the modern age, to say, “you are less than me” purely on the basis of skin colour, gender, sexual preference and to whatever deity a person might opt to pray (or indeed, the manner and direction of said prayers), should, for most individuals capable of the basics of free and rational thinking be anathema. And yet, here we are, facing a rising tide of politically-motivated and damaging “otherism” which encompasses all of the above noted differentiators. Even women in what are regarded as “free” societies are finding their basic rights under threat / being rolled back.

It is a level of public intolerance that is concerning on multiple levels. There is obviously the increased risk those being marginalised face in terms of diminishing rights and growing potential for violence against them – and well as the encouragement it gives to others to engage in such violence. Then there is also the the positive reinforcement repressive regimes in other nations might see when they hear views similar in nature to their own being espoused by politicians from so-called “world leading” nations. Both of these should give pause to reconsider words about to be spoken by those considered to be in high office – but they don’t.

Such intolerance is poisoning almost all walks of life; for those facing it, it can be – as intended – utterly debilitating, and thus either achieves the goal of subjugation, or generates an anger that can overtake thinking and outlook to a point where it is as damaging to the individual as any form of mental disenfranchisement in the face daily exposure to it. So what can be done? The answer to this simple-sounding question is both myriad and complex; but one part of it can be summed up as support one another and be who we are.

Yes Her is an exhibition of art curated by Scylla Rhiadra which seeks to do just that, with a specific focus on the matter of women’s rights, possibly spurred by the manner in which they are under open attack in the United States, but which embraces women the world over who face a daily challenge simply to exist as people rather than chattel. To use Scylla’s own words concerning the exhibition:

Women around the world are under a great deal of stress right now. And whether we live in Tehran, in Manchester, or in Forth Worth, Texas, we have good reason to be angry. Anger can be a powerful motivator to action. But swimming in constant anger is also a terribly toxic and ultimately self-destructive way to live your life. 

Yes Her is an exhibit that chooses instead to highlight positivity and optimism, and the immense point on which women can call, whether or not they are aware of it. … This exhibit argues that, while our anger can be justified, we need not always be reactive: we can make positive change happen without being prompted by assaults upon our rights. 

We can make a change by being who we are. 

This exhibit celebrates the positive strength and affirmation of what it means to be a woman.

– Scylla Rhiadra, from the introduction of Yes Her

Having opened on Sunday, May 28th, at the Factory Arts Collective Gallery, Second Life Left Unity (if the SLurl delivers you to the ground-level unity station rather than the gallery, climb the steps into Nelson Mandela Park and follow the track to the left to the teleport kiosk), Yes Her sees Laurel Aurelia, Suki Blossom, Kira Fizzgig, Tatiana Demonix (Nikolay), Eva Knoller, Belinda Newell, Onceagain (Manoji Yachvili) and Saskia Rieko, join with Scylla in an exhibition celebrating womanhood. Each of the artists has contributed at least one image, which are displayed with several of Syclla’s own pieces – including the original Yes Her which help foment the idea for this exhibition.

These are images which are all narratively rich (and self-explanatory), offering a reminder to all of us that women are people, capable for expression the same emotions and desires as the male of the species – and, like it or not – the same autonomy of choice and right to a voice (both of which perfectly exemplified by Scylla through Yes Her (My Door) and Yes Her (Listen!). Within them are statement of power through simple companionship, fearlessness (and facing the future), strength, beauty and the essential humanity in being a woman – a humanity to which all of us should aspire, again regardless of religion, creed, gender, sexuality, age or ethnicity.

Whilst a statement on the power of womanhood, as we enter Pride Month at a time when the LGBTQ+ communities are facing what is fast becoming an all-out assault on their rights (even, I’m ashamed to say by women of “status” who really should know better), Yes Her has a broader context in which to be seen.

Although the focus of the art is clearly on the power and beauty of womanhood and the right of women to make their own choices in life, Yes Her speaks out against all such intolerance and toxic behaviour and offers encouragement to any finding themselves marginalised by the bigotry of others. Simply substitute the word of your choice (gay, lesbian, pagan, refugee, person of colour, and so on) for the final “woman” in the quote from the exhibition’s introduction I’ve used earlier in this article, and you’ll see why. As such, it offers a message of strength extending well beyond its core focus, and offer s a reminder that no matter what those who would use intolerance as a message of hate and a means to ostracise and / or control, we are all people, with far more that unities us than separates us.

SLurl Details

• Factory Arts Collective Gallery (Oculea, rated General)