Category: Art in Second Life

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)

It’s been a while since I’ve had the opportunity to visit an exhibition by Kayly Iali in Second Life, so when Kultivate Magazine announced the opening of such an exhibition of her paintings within their Loft Gallery, I decided to make amends for this and hop on over.

Kayly is an artist in the physical world who uses Second Life as a means of reaching a global audience and present her work. She most frequently works with watercolours and oils, and describes herself as an impressionist in terms of her style of painting, utilising relatively small, thin, yet visible brush strokes, open composition with an emphasis on an accurate depiction of light and movement within her work. Her subject range encompasses still life, portraits and landscapes, and she has a reputation for producing engaging commissioned portraits of pets belonging to Second Life users, some of which have also featured in her in-world exhibitions.

At the loft, Kayly presents a modest selection of her landscape art – twenty in total – featuring locations and sights to be largely (exclusively?) found within her home state of California. Whilst all of them are individual pieces, some might also be drawn together as themed sets or pairings – such as those featuring various landmarks in San Francisco, the “causeway” paintings, and the “Vacaville” pairing. The majority are presented in that impressionist approach noted above, although the “San Francisco trio”, as I’ll loosely refer to it and featuring Alcatraz and both the Golden Gate and Oakland bridges, also leans  towards something of an abstract styling.

Whilst all originating in the physical world, these are pieces that could just have easily had their inspiration rising from within Second Life. As such, they offer something of an artistic bridge between both the physical and the digital, reminding us that our two worlds, whilst never exactly meeting are nevertheless closely intertwined.

These are engaging pieces which form an equally engaging exhibition; they are also – given the way the link our two worlds – pieces that will grace any Second Life home.

SLurl Details

• Kultivate Loft Gallery (Water Haven, rated Moderate)