Category: Art in Second Life

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

Words have a habit of evolving over time. Take “sensuality” as an example. Within the English language, it has its roots in the 14th Century Old French sensualite (“the five senses”), which in turn lies rooted in the Late Latin Sensualitatem (nominative sensualitas) “capacity for sensation,” or  “endowed with feeling.” As used in the 14th Century, the term was oft used as a sign of “spirituality”, describing the ability to sense or perceive the meaning of Holy Scripture. Two hundred years later, however, “sensuality” was largely frowned upon by the religious, who saw it as a direct reference to our baser animal instincts and lusts of the flesh.

Today, we tend to use the word to express the the idea of enjoyment of the innocently pleasurable to give it an edge of “naughtiness” (“the sensually smooth dark chocolate”; ” the rich, sensual aroma from the blend of oils…”, etc.), as well as in reference to the lascivious and suggestive – particularly in reference to the female form. The latter use is perhaps most noticeable within the world of photography and advertising, where images – generally in monochrome – are used to encourage desire without actually being in sexually explicit it is the suggestion of want might happen or might just have happened, that is used to taunt our senses and emotions.

All of which forms a lengthy introduction to a collection of 32 images by Second Life photographer Izabela Navarathna entitled Sensuality, which is currently open through until November 15th, 2021 at Frank Atisso’s Art Korner Gallery.

This is a veritable tour de force of photographic depictions of sensuality that at first appears to be lifted from that monochrome world of suggestive advertising – but which is actually far more, offering as it does multiple takes on the idea of sensuality. And whilst the the use of monochrome might suggest an intent to emulate such advertising images, it is actually because since her entered the world of Second Life photography, Izabela has specialised in black-and white avatar studies, believing – and I would agree with her – that they convey a greater depth of emotional content.

Within them, we can find the full range of interpretations of sensuality from the clear pleasures of the flesh evoking by touch, closeness and – yes – the suggestion of sexual activity (which carries with it a discomforting frisson as we are cast also into the role of voyeur), through to pieces that might be considers personal takes on the “classical” suggestions of female sensuality, and the use of an image to engage our senses in response, through to a reminder that sensuality can be experienced in multiple ways, some simple others through our need to simply indulge ourselves, with many (if not all) of the pieces containing a subtle twist or layering of meaning.

The clearest examples of sensuality as experienced through physical pleasures are those featuring both man and woman together. But then there are images such as Wings, Hand in Hand and Back all of which present suggestions of sensual, sexual bondage – the placement of hands and arms behind back, the collar around the neck, together with an innocent twist through their titles. Elsewhere, Cherry, presents a classical image of the sensual / sexual: a ripe fruit caressed by pouting lips as they hold it almost teasingly; whilst the use of nude and semi-nude images present the that subtle projection of sexuality, the desire to be able to touch without tipping into raw nudity: it is the suggestion, rather than the exposure, giving them a sensual twist.

And then there are the likes of I Wait To See You Smiling, My Body Is My Temple, and Rose, all of which offer their own takes of the use of a partially-shadowed face, camera angle and / or single item – a hat, the cigarette, a rose, to evoke a system of sensual mystery and desire.

In this respect, I could wax on about individual images, but these are pieces that deserve to be witnessed first-hand and their richness experienced, they are a genuine and skilled demonstration of the art of photography, the ability to evoke an idea and / or sensation merged with a narrative skill that is utterly superb; Izabella has a unique ability to visually encourage the imagination in one direction, then pull the emotions in another, just be her consideration of the title she gives a piece.

Just take La Llorona (which, of all the pieces in the collection, for me is the most utterly captivating). Within it there are all the familiar suggestions of sensuality: the woman in the bath; pouted lips, lowered eyes, the symbolic cigarette held between languid fingers, the presence of the decanter indicating a rich liqueur / liquor awaiting consumption. All speak to sensuality (and a hint of sexuality).  But then take the title of the piece into consideration, and the emotional narrative is utterly transformed, and with it our perception of what each element in the image is actually saying.

Most of all, however, is the manner in which this collection offers a stunning demonstration of Izabella’s skills as a photographer, storyteller, and sensualist (in the most positive sense of the word) through her choice of pose, camera angle and lighting, followed by cropping and finish. to produce imaginative images that weave subtle narratives through perfectly framed images.

A truly engaging exhibition, offering much to appreciate and admire.

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• Art Korner Gallery (Deju, rated Moderate)

Until I remembered the invite sitting in my inventory, I hadn’t realised it’s been over a year since my last write-up on art exhibitions at Konect Art Gallery, operated and curated by Gonzalo Osuna (Jon Rain). Why this should be the case, I’m not sure – but in that time, the gallery has relocated and downsized a wee bit. Nevertheless, a return visit was most welcome, as was the reason for making it – to see a further exhibition of Mareea Farrasco’s art, which is a couple of weeks into its exhibition time at the Gallery.

Mareea is an exceptional Second Life artist who has a talent for taking the pictures she captures in-world and turning them in elegant digital paintings through a gentle and considered use of post-processing. Her work encompasses portraiture, landscapes, and still life that can represent an image reflecting a moment in time, or offer the suggestion of a large narrative for the observer to create / interpret, and can even touch upon the metaphorical in tone and meaning.

Miscellaneous is a selection of 16 images that between them incorporate all of the above, and which also highlight other aspects of Mareea’s work I so appreciate. These include the way in which she can bring a sky to life in a landscape image, for example, to give it depth and mood; her eye for angle and depth of field; her ability to bring forth the subtle richness of colours present within nature without any sense of them being overblown.

Most clearly in this selection is Mareea’s love of pastels to cast a story and / or mood. Within the landscape pieces the soft colours speak to the calmness and beauty of a late summer field or the quiet of an autumn’s evening; meanwhile, her use of greyscale and blue tints provide a sense of winter and of a sea storm angrily reaching the shore. Then there is the use of soft focus / depth of field to draw the eye to a specific aspect of an image, in one place particularly married perfectly with a minimalist view (Bon Voyage) so as to offer an entire story through just a pair of walking boots, a shoulder bag and a hat.

Where deeper shades / colours are in evidence,, these again frame stories the mind is free to interpret, and metaphors of expression that can hold our attention, the colours offering a richness of expression without overwhelming the eye.

Poised, captivating and suitable for gracing any SL home, Miscellaneous is a rich sampling of art is an engaging exhibition that should be running for at least (I believe) the next couple of weeks.

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• Konect Art Galllery (Carpathian Island, rated Moderate)

No matter whom we are, where we live, or what we do, there is a constant in life that transcends all others we may share or have in common: the passing of those we love and / or hold dear.

Losing someone close hurts – the realisation  that someone we have always had in our lives or who has grown so close to us they have become a part of us is simply no longer there to touch, hold or just look at – can be devastating. that it is almost inconceivable we should ever be without them; that they will never again be seen, heard, spoken to or touched. The accompanying grief we feel is something many have tried to quantify down the years – hence the so-called “five (or seven) stages of grief”; which may have unfortunately given rise to the idea that grief is just something you have to “go through” and life will be “normal” once you’ve done so.

But the reality is that grief is a much more complex state of being. As Simon Shimshon Rubin notes, bound within grief are biopsychosocial aspects, those which the so-called “stages of grief” tend to focus on: anxiety, depression, traumatic response, our reactions to those around us, etc. But there are also other aspects to grief, what Rubin called “Track 2” aspects: our connection with the deceased, the closeness shared and emotional involvement. These are harder to quantify, because they are unique to each of us; they both define the depth of our grief and drive the more outward biopsychosocial aspects, as such they are central to any clinical understanding of grief, again as Rubin notes.

More particularly, these “track 2” aspects help structure how we maintain that connection with the deceased, retain that sense of closeness, and come to terms that while we may never physically see them again, they are, nevertheless still a very real part of us. And this in turn can give rise to moments of deep and personal revelation, understanding and even creativity which in turn help us reach an internal sense of equilibrium following our loss – something that cannot be measured by marking “stages” (in whatever order they are encountered), or in terms of time; but whish are so experiential, they are with us in varying degrees and ways throughout the rest of ours lives.

Such is the case with the current exhibition and setting CybeleMoon (Hana Hoobinoo) has created at her Dark Wood Gallery. Will We Meet Again No More is both a memorial to, and celebration of, the life of her partner Nick, who recently passed away, and a means for Cybele to help herself express her loss through the positive act of creativity. Stepping into it is very much of stepping into the world they shared, and opportunity to understand their bond of love and companionship, and to help Cybele remember Nick as her fellow traveller, lover of photography, gifted creator (through his cooking), confidante and friend.

From the recreation of the garden space she and Nick made at their home, through to the images on the surrounding walls, to all of the little touches – the ship’s wheel (referencing Nick’s time in the merchant marine and their mutual love of sailing), the globe (representing their travels together), the pint of Guinness… – offer us the opportunity to know Nick just a little bit, and share in Cybele’s time with him, and better understand her loss. It is also presents Cybele with the opportunity to maintain contact with her own creative core at a time when doing so is unlikely to be easy – hence why the exhibition also frames some of her more recent pieces of digital art as well as remembrances of Nick.

Personal, an opening of the heart, rich in images from the physical and digital realms, Will We Meet Again No More is engaging and moving. Through it, and the words Cybele offers with it, I find myself feeling not so much the loss she undoubtedly feels, but a sense of having to come to know Nick just a little. My thanks and warmest hugs to Cybele for, respectively, allowing us this to share a sense of her time with Nick, and for her loss.

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• Dark Wood Gallery (River Hill, rated Moderate)

P.S. If you are unfamiliar with Cybele’s work, I cannot recommend it highly enough; she is an extraordinarily gifted teller of tales through her images, photographs and words. With regards to the latter, I thoroughly recommend taking time to read her blog / website, if you have not previously done so.

Currently open at the 22 Art Space in Bellisseria, operated and curated by Ricco Saenz and Randy Firebrand, is a shared exhibition of images by two Second Life photographers – Dutch Ireman and Evie – that is built around the theme of Duet, or pairing. Although as Randy and Ricco explain in the exhibition’s introductory notes, the theme was actually suggested by the art offered by the artists, rather – as is more usually the case – the theme informing the art that is offered:

The concept … was born more or less by chance. At first [we] selected four pictures of each artist’s established production and suggested that Evie and Dutch complete the sets of images in a way that would make some sense to them. The results came with a positive surprise: even if each photographer … provided the gallery with photos that could be arranged in sets of two. In other words, the concept for the exhibition just emerged from that: there were duets – both of pictures and of ways to think of those photographs.

Thus, through the rooms at 22 Art Space, are hung eight images by Dutch and eight by Evie, each artist offering them as complementary pairs (4 pairs from Evie, four from Dutch). The images in each pair are able to stand as both an individual pieces in their own right and as one half of a broader story. Take, for example, Dutch’s Connecting and Connected, located on the upper floor of the gallery. Each offers a statement on human connectedness that can be appreciated in its own right; but they also stand together as a pair of images that give a wholeness to that theme of connectedness and connection.

Given that each artist was given free reign over how they took the four images initially selected by Ricco and Randy and added to them to offer a selection for the exhibition, that both Evie and Dutch both independently arrived at the idea of pairing off their images (rather than simply adding and additional four, either randomly or based along a single collective theme) is genuinely intriguing. It also speaks to an interesting harmony between their individual approaches to the the exhibition that further this idea of  duet: their individual voices as photographers coming together in unison in how they present their pieces as individual pairings.

And just as a duet can comprise contrasting harmonies and  / or voices working together through the combined singing of different lyrics or one offering the melody, the other a descant around it, so too does Duet. Evie, for example, presents images that largely have darker backdrops and /or deeper colours, forming, one might say, a “descant” to the “melody” of Dutch’s work, with its bolder, vibrant mix of colours and backdrop, with both harmonising their their respective use of tone, angles and lighting.

Completed by various items placed around the gallery that help underpin the idea of duets and pairings – a rug with the yin-yang pattern, a pair of shoes, tennis rackets and balls –  Duets is a small, engaging exhibition that run through until December 11th.

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• The 22 Art Space in Bellisseria (Grenouille, Bellisseria)