Category: Art in Second Life

Update, June 27th, 2022: Art Korner has Closed.

Occupying two rooms at Frank Atisso’s Art Korner gallery is an exhibition of avatar studies by Mila Maesar that opened on April 28th, 2022. Perfectly Imperfect marks the first time I’ve had the opportunity to study Mila’s work in detail, and while there doesn’t appear to be any liner notes to accompany the exhibition, this doesn’t diminish it at all; it actually enhances it, allowing the interpretation of the individual pieces and the exhibition as a wholly subjective exercise, driven by one’s own mood at the time of a visit.

The majority of the pieces are head-and-shoulder portraits, although there are some broader images to be found within the collection. At first glance, the images appear to be split between the two rooms simply through the used of colour or tone: monochrome pieces appearing within one room and colour in the other. However, things are not entirely that clear-cut; whilst the darker room does have predominantly black / white or monochrome pieces, there  are also hints of colour to be found; whilst in the lighter room, colour predominates, but monochrome pieces are also to be found.

All of the pieces carry a richness of narrative, stories in part suggested through their titles. Several are evocative of iconic images: Waves, for example, carries with it a suggestion of Neve Campbell and Denise Richards as seen in promotional posters and images for the film Wild Things; alongside of it, Honey Pie offers echoes of David Bowie’s Ziggy Stardust.

Whether such touches are intentional or merely my own subjective response to these two particular images, I’ve no idea; but I found similar touches in some of the other images, and through them, a part of my own connection to them.

But if there is a theme within this exhibition, what might it be? I found myself driving to the idea of duality and self. Again, this is in part suggested by the title of the piece, and – obviously – by the images themselves and also the setting.

Most of us who come to Second Life do so in order to find a means of self-expression, a part of which is embodied through our avatars. For the majority of us, this gives rise to avatars that tend towards a view of perfection: an idealised view of who we are / would like to be. But while they might be perfect, we, as their operators remain imperfect, perhaps even conflicted.

Our moods and outlook change – hence perhaps the use of light and dark rooms to display these shifts – whilst our avatars remain constant throughout; perfect in looks, perfect in relationships, perfect in appeal. Even in situations where we’d end up a complete mess – or at least less-than attractive – such has being smothered in honey or splashed in paint, our avatars remain an image of perfection.

This dichotomy between this digital perfection and the imperfections of “real life” is perhaps most clearly represented within Open Up *(seen to the right of this article). It is an utterly startling and fabulously presented piece, with a depth of expression and potential for narrative that completely captivates.

But however you opt to interpret Perfectly Imperfect for yourself, make no mistake; these are visually striking and richly engaging pieces.

• Art Korner: Perfectly Imperfect (Deju, rated Moderate)

Those looking for a cosy ensemble art exhibition in which to find a rich diversity of art might want to hop over the the Kultivate Select Gallery, where the April exhibition has just opened.

A part of the Kultivate arts and music hub, the Select Gallery occupies a garden space within the Kultivate region, offering an outdoor exhibition space that it usually host to themed exhibitions, with each theme set by the Kultivate team. However, for April 2022, and at events and exhibitions at Kultivate ramp-up once more, it was decided to keep the April 2022 theme to a simple “Artist’s Choice”.

Those responding to the call for artists with the exhibition comprise Duraya Resident, Hannah Starlight, Hero Blessed, Margo Hollak, Penni Noir (Penniwit Yearsley), SierraDiamond Panthar, Tarozaemon Rossini and Veruca Tammas. Between them, they offer an engaging mix of Second Life art and photography, physical world and and digital art in what is an engaging and easy-to-appreciate exhibition.

Tarozaemon Rossini is a digital artist whose work has a particular appeal for me, focused as it is on fractal pieces – an artform I’ve long appreciated in both SL and the physical world. A character as colourful as his art, Taro tends to be engaging for his enthusiasm for the genre, and his exhibits never fail to engage – and inform, as he is always careful to provide an exploratory explanation of the world of fractal formation; just check the info display within one of his two display areas.

Penniwit Yearsley is someone whose art I don’t believe I’ve previously encountered in SL. Here she presents images drawn from ancient Rome, celebrating goddess and emperors of the age, all cleverly rendered in a form of digital collages that gives them depth and life.

Throughout the exhibition, Veruca, Hero, Sierra and Hannah present very different but equally captivating images captured around Second Life and avatar studies, some of which have been left as photographs while others have been processed to resemble paintings and all of which demonstrate individual style and presentation.

Duraya and and Margo meanwhile offer two very different styles that joined Taro’s work in attracting me. Duraya presents a set of seven images captured from within Second Life that in terms of subject and post-processing are simply breath-taking in their depth and beauty – each one offering a unique story. Margo’s paintings, meanwhile offer a richness of colour and depth that is as captivating, the pairing of the two as side-by-side displays making them both all the more complimentary in their individual strengths.

Eight artists and eight small displays that collectively make for an engaging exhibition.

SLurl Details

• Kultivate Select Gallery (Water Haven, rated Moderate)

Arnno Planer is a self-described Second Life “snapoholic”, whose work I first encountered at the 2020 Movember art exhibition organised by JMB Balogh at the Men in Motion gallery. At the time I was struck by the natural arc and look of his avatar studies, so I was pleased to be able to see more of his work thanks to the April 19th, 2022 opening of an exhibition entitled La Ville, La Vie (The City, The Life).

Hosted by Mareea Farrasco as a part of her ever-evolving IMAGOLand cultural facilities (albeit on a separate region), the exhibition is being held with the Suburbs gallery space.

Be that as it may, La Ville, La Vie is located within a pair of hanger-like buildings that sit side-by-side, and presents a genuinely engaging and rich selection of both colour and monochrome male avatar studies. Some sit as what might be regarded as the more “traditional” form of avatar study, either portraiture or as a single framed story; others are more subtle in their message; several skilfully depict what might be regards (at least in places like the UK, America and Canada) “typically” French elements or touches.

Take Burning Man, LacheTon Number, Beyound and Un Seul Coq. all are beautifully composed and framed as might be found in the pages of a high fashion magazine or through a Flickr photo stream covering SL fashion, with Un Seul Coq, offering a little nod-and-wink to us on the role of the model in such photos.

Or take Metagorique and Degaine; two quite marvellous monochrome studies, each richly layered in potential interpretation. Taken in context of city and life, Metagorique might be seen as reminding us that not everything about city life is bustle, business, happiness and fashion; Degaine meanwhile, whilst suggesting the invincibility of youth, is captured in such a way as to evoke classic French cinematography of a bygone era.

And then there is the quite marvellous Rat Race, symbolising the whole clean / dirty nature of city life (the out-of-focus gleaming lights of soaring towers contrasting with litter and detritus of daily city life on which rats and other perceived pests survive sharply defined in the foreground), whilst also personifying the whole mad rush of modern life and consumerism: the tossed-way waste of an empty coffee cup, the bright new trainers and the manner in which one foot is raised as if to crush the rat’s head (a trick of perspective, clearly, but nevertheless a visceral portrayal of many go through life, stepping on those around them in a pointless race to the top).

Wherever you look within this selection of 22 pieces, you will find something that captures the eye and fires the imagination, making La Ville, La Vie an exhibition that should be seen.

SLurl Details

• IMAGOLand Suburbs Gallery (Shaker Beach, rated Moderate)

I was recently indirectly pointed towards Eden Gallery by photographer Pacific Fanshaw, who features the location in her Profile Picks. Operated and curated by Adelina (AdelinaLawrence), Eden Gallery sits within the Garden of Eden, a region given over to flights of the imagination, offering a mixture of fantastical public spaces and private residences.

In this, the gallery literally stands over the cavern of Enchanted Eden, a music / dance venue, and takes the form of a grand windmill-fronted cottage built within the boughs of a great tree. The tree is reached from the lowlands of the region via stairs and steps running up to and around the cavern or by means of winding path; steps and path both ascending to the plateau over the cavern, and visitors must ascend the tree by way vertical ladders and a wooden walkway that eventually lead to the gallery’s front door (used here as a landing point SLurl).

The treetop cottage offers three floors of space, although at the time of my visit, only the mid and upper levels of the house were in use. The front door accesses the middle floor, and an exhibition of art by Scylla Rhiadra, known for her explorations aspects of life and the human condition (such as with Virtual Toxic, which I reviewed here and Intimacy, which I review here).

So far as I could see, this exhibition has no title, but it very much continues in the vein of exploring aspects of life. Each piece, as artificially composed and posed as it might be, captures a single moment in life that is marvellously expressive and exquisitely rich in narrative, making the fact it has been constructed fade entirely into irrelevance, leaving us caught in the richness – and in places, the mystery – of the images as we encounter them. Just take Connect, the first image encountered in entering the house, for example: the message of love and intimacy is so powerfully conveyed through expression, skilled use of line-of-sight from one character to the other, lens flare, reflection, and the balance of light shadow.

Then within In Transit in the next-door room, there is an unmistakable sense of personal happiness in an exchange with someone – or something (Scylla might be responding to reading a departure or directions board) – is richly palpable. Meanwhile Little Universes tells a layered story containing just a hint of sci-fi mystery (catch the telescope and the white light spilling through the (slowly opening?) door) wrapped in what might otherwise be a more every day event – noticing the lens cap has been left off the telescope.

Each and every image is thusly evocative, but I found myself repeatedly drawn to Transition (above right) for is narrative mystery: is the man seen in the mirror actually there, or is he the personification of a memory on the part of the woman? Is the shadow on the wall behind her a clue that he is there, standing behind her – or is the shadow actually hers and merely fooling us?

Take the gentle curve of the staircase to the upper floor of the house, and you’ll find a display of art by Adelina, some of which in the main room at the top of the stairs might be considered by some as not suitable for work (NSFW).

These are more personal in nature, nude and semi-erotic images someone might take with their lover and intended for personal viewing rather than display. This gives them a depth of perspective that casts those viewing them into the role of voyeur whilst simultaneously presenting encouraging a sense of privilege in sharing in these personal, guarded moments.

Mixed with these are images that touch upon the realm of fantasy story-telling, fashion and contemplating reflection.  All are marvellously composed, focused, framed and processed to present a collection that is beautifully and richly emotive throughout.

SLurl Details

• Eden Gallery (Garden of Eden, rated Adult)