Category: Art in Second Life

Currently open within one of the exhibition spaces at Michiel Bechir Gallery, operated and curated by Michiel Bechir, is Marked by Shadow, Moved by Light, an intriguing exhibition by photographer artist, gallery curator, music afficionado and blogger, Owl Dragonash.

Owl is a veritable tour de force within Second Life. As a founder of galleries – notably Cloud Galleries and Maison de la Chouette – and host and promoter of live music events across the grid, Owl works tirelessly to bring people and communities together and bring artists and musicians to the attention of a wider audience. As an artist-photographer in her own right, Owl is often featured in exhibitions and art events, as well as having her own Flickr stream.  However, Marked by Shadow, Moved by Light is something special; perhaps an experiment in approach and technique and the use of shadow and light, but one rich in content and enigmatic in presentation and meaning.

In Marked by Shadow, Moved by Light, I explore embodiment in flux – how light carries form, how shadow reveal emotion; how we carry markings both chosen and inherited. Each piece captures a moment of stillness within transformation.

– Owl Dragonash

Comprising 10 pieces, this is an collection of what might best be called primal images. From black-and-white through pieces predominantly using primary colours to the use of more natural tones, all ten are richly expressive and also highly tactile in their finish. Each is evocatively titled, helping to nudge our thinking in a certain direction, but it is in that use of colour, light, shadow and finish that captivates and engages. As Owl goes on to note in her artist’s statement:

The stripped illumination suggests something primal and performative – like camouflage, ritual paint, or the imprint of memory. Wings, horns and hooves hint at hybrid identities –  creatures caught between wildness and wonder. 

– Owl Dragonash

This within this collection we have a dual thrust: on the one hand, we have images that evoke a vein of fantasy and imagination all too common to the entire human existence, touching on themes of paganism, mysticism, mythology, mixing into some pieces more “modern” adult themes. The latter is particularly expressed within Suspension of Will, Bloodlight Offering and Feathered Restraint; all three of which are additionally nuanced in their mixing of adult themes and ideas of transformation and sacrifice.

On the other hand, these images offer a subtle and unique mirror on the ability for Second Life to become the vessel of transformation for each and everyone of us; allowing us to become whatever we like and experience whatever might draw us to itself. The use of colour, light and shadow further invoke and enhance on two levels as well. Firstly, it does indeed evoke the ideas of body painting and through it the creation of hybrid identities for the purposes of ritual, etc. Secondly, the combination of the three – light, shadow and colour – reflects how our wants and desires and hopes for engagement and / or transformative are given form within the digital realm.

In all, and as stated, an intriguing and highly engaging exhibition, well worth visiting and exploring. Should you do so, note that Owl suggests Marked by Shadow, Moved by Light should be seen with the viewer’s environment is set to Midnight.

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• Marked by Shadow, Moved by Light, Michiel Bechir Gallery (Embrace, rated Adult)

Two art exhibitions opened earlier in August, at ArtCare Gallery curated and operated by Carelyna. The first, and longer running of the two, is a series of photo-paintings by Solen (Solen Karu). It opened on August 1st, 2025 so in truth may not have too much longer to run – my apologies to Solen and Carelyna for taking so long to get to it.

The second opened on August 18th, 2025, and features the Second Life photography of Anja (Neobookie). Both are very different one to the other, but both share a common aspect of representing their artists’ unique outlook on life and Second Life.

Solen’s road to art has been an interesting one; from a career in information technology to that of land ownership, cultivating nut and fruit trees to form a small woodland. Whilst doing the latter over a period of some three decades, he also spent / spends time walking a local country trail and taking photographs of the trees and wildlife together with the local river.

He called these photographs “mediocre”; whether the originals were / are or not is an entirely subjective matter. What is clear is the manner in which Solen has used computer software tools and a range of processing techniques to turn them into photo-paintings which are anything but mediocre – rather the reverse, in fact: they are, completely captivating, as can be seen within Walking the Land.

Incorporating multiple aspects of art from abstract to impressionism / abstract impressionism to expressionism, and spread across the two levels of its gallery space, Solen’s work conveys so much within each picture, making this a simply superb exhibition.

Hailing from the Netherlands, Anja has been involved in Second Life for some 12 years and who remains fascinated with the multiple ways in which creativity can be expressed through the platform.

It’s a fascination which led Anja to start taking photographs of the places she visited in-world, and this exhibition allows visitors to explore both her photography and her travels through Second Life.

Entitled Distraction Visions, this is no ordinary pictorial tour of Second Life; the images chosen illustrate the more surreal beauty to be found within our digital world: an island floating in the sky, complete with buildings attached to it almost like barnacles while a whale swims in an embedded aquarium; guitars rising from the ground sprouting branches and leaves; a lunar lander sitting within a multi-level chess board; a racing car formed from a wine bottle; a jet propelled industrial building, and so on.

Each piece is a story in its own right, simply awaiting our imaginations to offer up a narrative (or perhaps narratives, such is the potential of each piece). Whilst they are not necessarily required, the gallery space also offers a series of props reflective of some of the images, given Distracted Vision further depth.

Expressive and engaging, there are very much two exhibitions deserving to be seen and enjoyed.

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Emotion is rated Moderate

• Solen: Walking the Land
• Anja: Distraction Visions

Having opened within The Annex at Nitroglobus Roof Gallery, curated by Dido Haas, Beach Life is a highly engaging series of Second Life centric images by Kelsey Sakura-Yuitza (Kelsey Yuitza), perfectly showcasing both her abilities as a self-taught Second Life photographer and her passion for spending time at the beach. A modest collection comprising just nine images – with two of them forming triptych-like pieces, one at either end of the gallery space – Beach Life carries within it arrange of emotions and narratives, with all but two of them focused on beach settings, even if their narratives far surpass the setting itself.

As a Second Life photographer, Kelsey is self-taught, developing her skills as a result of curiosity and a willingness to learn via tutorials and videos, and a determination to master the tools at her disposal. The fruits of her labours can be seen in the fact that her images are finely crafted, perfectly edited and easily comparable to anything a physical world photographers might create.

Supported by beach-like vignettes by Adwehe with which visitors are encouraged to interact by sitting or kicking a beachball around, etc, Kelsey’s images are presented in the large format generally found within the main gallery. This allows the observer to be drawn into each piece and appreciate its beauty. Most of the images speak clearly for themselves and express the joy and freedom to be found in the pleasure of a beach visit. However, mixed within the collection are pieces which I found breath-taking in their depth, artistry and message. These included both of the triptych-like pieces, Where I Began and Ronin, together with Fallen not Forgotten.

Where I Began a celebration of origins, possibly on a personal level of Kelsey, but also in reflection of her growing love of photography in Second life. Ronin, meanwhile, offers a wealth of visual metaphor; there’s the idea of feminine strength and courage; the hint of honour and loyalty as enshrined in the Bushido Shoshinshu followed by samurai (even if ronin were regarded as having failed to live up to the demands of the code to commit seppuku upon the death on his master).

Then there’s evocation of the traditional interpretation of ronin (“wanderer”; “drifter”) together with the idea of the modern-day drifter who might be found wandering along a beach, and the rich counterpointing of the more idiomatic interpretation of the word (“wave” and “person”) with the backdrop of the open, unfettered ocean to suggest a free spirit.

In its use of camera angle, lighting and shadow, focus and vignetting Fallen not Forgotten genuinely speaks for itself. To call in poignant would be an understatement; it is a marvellous tour de force of artistic expression and richness of narrative. It is powerful and evocative.

A truly marvellous exhibition; one not to be missed.

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• The Annex, Nitroglobus Roof Gallery (Sunshine Homestead, rated Moderate)

Currently open at the Elven Falls Art Collective is an exhibition by Julana Allen (Julana Teichmann) and eta (etamae) entitled Where the Flowers Are.

The name is apparently a reflection of Julana’s love of Joan Baez, and the art is a mix of AI images created by Julana, mounted on frames created by eta (I believe I’m correct in saying), together with additional 3D elements by eta. The exhibition is spread across two floors of the gallery space, with an elevator teleport linking the two levels.

Offered primarily in monochrome (there is a well-considered use of colour in places), the images are – as might be gathered from the exhibition’s title – focused on flowers and plants; although not exclusively so. All of the work is finished using PBR materials, so using a PBR-capable viewer is recommended for viewing the exhibit as intended by the artists.

What is most striking about the images, for me at least, is the manner in which they are been processed. This gives them an extremely tactile look, as if they have been etched. This is further enhanced by the manner in which they have been mounted, eta’s backings helping to give depth and substance to each piece.

A further attractive element within the exhibition space lay with the 3D elements provided by eta. Comprising circles, curving lines, teardrop forms, spheres, and flowing glass-like forms, the perfectly counter the harder lines of the picture frames and mounts, enhancing the presence of nature within the exhibition, as found within Julana’s images.

There is so much to find with the individual pieces, from single-frame narratives (e.g. Scent of a Woman) to reflections on Nature’s order of things (e.g. Busy) to reflections on Nature’s ability to please and inspire (e.g. Smile). This further adds depth found with Where the Flowers Are.

In all, an elegant and appealing collaboration.

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• Where the Flowers Are (Elven Falls, rated Moderate)