Category: Art in Second Life

I’m not familiar with portraits; objects, details or landscapes are my favourite subjects. I’m not aware of the many secrets one needs to know to catch expressions, feelings or bias in a body or in a face. But sometimes I try that. It’s when a place, a dress, a pose, suggests an atmosphere or meaningful emotion.

– Melusina Parkin

These are the disarming words Melusina Parkin uses to introduce her latest series of images, Just Melusina, an enticing set of 34 self-portrait / avatar studies that are uniquely Melusina in appearance, tone and style that fully underline her use of atmosphere and emotion – and demonstrate she indeed has an eye for pose and look.

“Traditional” portraits tend to be exercises in power and / or ego, however subliminal. The subject and their pose is what counts, the clothes they wear, the backdrop to their sitting, etc., are all merely accoutrements to the central theme of look at ME. Even self-portraiture can follow a similar route, although they can also lean the other way, projecting too much of the artist’s own self-reflection in a piece; even so, the end result tends to be the same: to push their audience into a single track of emotional response.

Within avatar studies, ego can also play a role – who doesn’t want to have their avatar looking its stunning best? – but leaving aside things like Profile photos and personal shots, avatar studies within SL tend to focus on narrative: telling a story in a single frame. But often, rather than allowing the image to speak for itself, the artist will directly lead their audience into an interpretation of a piece through the use of an intentionally descriptive title that sets the foundation of what they are trying to convey. There’s actually nothing wrong with this where the story is the intent, but where the interpretation might otherwise be broader, it can focus too much on generating the primary response rather than – as with the likes of landscape images – allowing the audience to take in the whole and allow their thoughts and reaction to be more freely driven by what they see and perceive.

This is where the 34 images found within Just Melusina differ from the more “usual” forms of avatar study. While each and every one has obviously been posed, none are titled by anything other than by a number), so there is no leading by the hand when it comes to interpretation. The result is that what we see within each image is entirely a matter of our owner observation and emotional response – and this is broadened by Melusina’s skill in lightly (and sometimes indirectly) touching on smaller specifics within an image, as well as in using dress, poise and camera angle, to offer the way to larger stories our imagination might frame.

Take Just Melusina 34, for example (above). In a muted, soft-focus monochrome, it presents a woman sitting, perhaps curled with her knees up, on a sofa of some description.  But is she at home or some public place? Just the hint of the chair is sitting on suggests a sofa, but could it be a vinyl-covered bench seat in public place that she has chosen to make her own. And is she alone or with someone? The turn of her eyes could suggest either; is she looking at someone whilst listening to them? If so who? A friend? A lover? A stranger? And if so, what does the neutral set to her expression suggest? Or has something outside of the frame attracted her attention? Is it something she is witnessing outside of wherever she is and seen through a window? Or is it closer, within the space she occupies, but not something with which she is directly involved? Or is she just lost within her own thoughts, unaware of either the sideways glance or the expression on her face? If so, what might be the thoughts she is lost within?

Thus, through each image, Melusina beautifully and lightly sets a scene – not an entire narrative, and certainly not a shout of “look at me!” – but a scene. One in which we are invited to step and allow our eyes and emotions construct the narrative beneath.

And there’s more besides. Whilst all of these images open a veritable storybook of possible narratives to hold our attention, so too do some have other aspects to them. There are those that seem to have a more playful edge to them as they offer hints of other mediums – such as a possible call to Liza Minnelli in Cabaret or Audrey Hepburn in Breakfast at Tiffany’s. Others meanwhile, seem to offer hints of famous works to be found in the physical world – Just Melusina #17, with the use of pose and hair colour might be seen to offer an echo of Whistler’s Mother without actually ever being a direct take on it, but remaining true to itself.

Wonderful in scope and depth, this is another superb collection from Melu, and I hope you’ll take the time to see it.

SLurl Details

• Melusina Parkin – Just Melusina (Time Portal, rated General)

October currently sees three expeditions in progress at Club LA and Gallery, curated by Fuyuko Amano (Wintergeist), although I believe two will be closing at the end of the month. Between them, they offer three very different displays of art and perspectives, making all three an engaging visit.

The ground-level exhibitions both opened on October 3rd, and so many have a limited time left in their runs. They feature the work of Kapaan and Blues Rocker (BluesrockerResident) respectively.

Kapaan presents art that often carries a narrative theme, usually with a fantasy / dark fantasy element to it – and such is the case with several on the pieces here as they cast what might called Scenes from the Seed, presented in primal tones and featuring the character of Orobas (the Orobas, in human form?) and a glowing, seed-like orb.

Accompanying these is a set of more colourful avatar studies and a trio of landscape images. these again have treads of connection running through them, the colour red and umbrellas in the case of a couple of the landscapes, and the manner in which the avatar studies are mounted.

Across the hall, Blues Rocker presents an evocative set of images rich in colour, each standing on its own and strikingly unique when compared to the rest. Again, each has a story within it, hinted at by its title and ready to jump into the mind on viewing each piece in relation to that title. These are richly imaginative works, that reflect Blues’ philosophy when dealing with Second Life and his art.

I much prefer shooting out on location in the multitude of amazing sims which populate SL than in a studio, as I feel I get much better results that way. Since starting seriously taking photographs in SL, I have broadened my horizons in what wonders this virtual world has to offer. Really, the only limits are those of the imagination.

Blues Rocker

The most recent of the three, having opened on Sunday, October 18th, is Spectrum by David Silence (JemapelSilence). Reached via a teleport station outside of the ground-level gallery space, this is also the most intriguing of the three, offering what might be said to be a display of personal introspection woven into other apparent contradictions – such as the title of the exhibition being a word that tends to first suggest colours, whilst the images themselves are entirely monochrome.

Of course, “spectrum” can be used in other contexts as well, such as “running the full spectrum of emotions” – and it is in this context that David uses the word, as he explains in Spectrum’s introductory notes. He combines it with that unique sense of self-awareness when we can perceive ourselves simultaneously in two ways: both from within, as we listen to that inner voice that can question our actions, motivations, emotional state, etc., and from without, as if we are projecting ourselves into the body of another and witnessing our actions / state of mind through their eyes.

The result is a series of images that might be subtitled Conversations and Observations with Myself. They comprise two figures  – one dressed, one naked – in various locations, clearly conversing and as if seen by someone else. This external view manifests the idea of projection beyond ourselves, but it would b a mistake to consider the figures as individuals.  Rather, they are one in the same: the dressed figure representing the externalisation of how we would like to be seen by others, and the naked representing out inner self, freed from the need to clothe thoughts and emotions. Thus we have a series of images depicting our relationship with ourselves, and the full spectrum of thought and feelings that can come with it.

Three excellent excellent expeditions from three engaging artists.

SLurl Details

• Club LA and Gallery (Amano, rated Moderate)

I genuinely don’t like self-promotion, particularly when it comes to my Second Life photography ( which I view as blog illustrations rather than “art”). However a couple of months ago Gonzalo Osuna (Jon Rain) asked me to exhibit at his Konect Art Gallery – and was not going to take no for an answer!

So, running from Friday, October 16th through until the end of the month is an exhibition of some of the many images I’ve taken over the years as I’ve explored Second Life, entitled Second Life Landscapes.

I’ll admit that it is my biggest exhibition to date – and as such, I’m glad it has had something of a “soft” opening rather than a big splash, as I think I would have been too nervous to do anything more than  hide in a corner. When invited, and given past exhibits at the gallery, I was anticipating being one of two people displaying their work – so I was stunned, surprised and deeply flattered (as well as slightly panicked!) when I arrived to set-up this week and find that the entire gallery had been made available to me!

So, the result is some 35 of my images are offered across the two floors of the gallery in a relatively large format and which feature many of the places I’ve particularly enjoyed visiting since around 2014. I’ve even managed to include one or two that haven’t shown up in my Flickr stream!

Anyway, I’m not going to prattle on about things here – but I hope you’ll pop over to Konect Art between now and the end of October and have a look around. And while there, why not chill out to the sounds of Konecta Radio?

My thanks again to Gonzalo for the invitation to exhibit!

SLurl Details

• Konect Art Gallery (Carpathian Island, rated Moderate)

Currently open through until November 1st, is the Wythburn Art Walk (SLurls at the end of this article), an event to help raise funds for Making Strides Against Breast Cancer (MSABC), and to encourage people to explore Wythburn at Thirlmere, a full Mainland region. Some two dozen artists are participating the event, with their art offered for sale through RFL of SL vendors, with exhibitions spread throughout the region, thus allowing visitors to explore the region as they view the art.

The art is displayed on easels found throughout the location – along the roads and waterfronts, around the town square and along the each of the local lake. Exactly how many pieces each artist has provided appears to be up to individual choice – but taken together this is a rich and diverse display of Second Life art. Several SLurls are offered by which to explore, but I do recommend starting from the town square, and thence out along the waterfront and around the lakeside.

Meet the Artists

In addition to the art and the chance to explore the region, the event offers unique opportunities to meet with the participating artists and hear about their art.

These events will occur between 10:00 and 12:00 noon SLT on Saturdays 17th and 24th October, when DJ Tani will be playing tunes for people to dance to, between which he’ll read notes the artists have provided about themselves, their work and their techniques, with the featured artists also in attendance.

To help make these sessions a little more special, attendees are asked to dress formally.

Selfies with the Breast Cancer Ninja

The event includes a “selfie” contest with three unique statue prizes from artist Harry Clover (ImpossibleIsNotFrench) up for grabs. Those wishing to participate should:

• Locate the Breast Cancer Ninja at the town square.
• Touch the Fight Like A Girl sign next to it to obtain a competition package containing:
  • An attachable sign.
  • Instructions on entering the contest.
  • A contest entry note card.
  • A copy of the Ninja statue.
• Touch the statue to sit next to it, and then select a pose.
  • If  you prefer, you can also use the copy of the statue and use it to take your entry photo wherever you like, so you’renot limited to just the event region.
  • You can also wear the sign included in the package if you wish.
  • Note that the statue supports two avatars posing at a time – so you can include a friend!
• Take your selfie(s).
• Upload the photo you wish to enter and make sure it is set to full permissions.
• Open the contest entry note card and:
  • Add your avatar name.
  • Drag and drop your photo into the card.
  • CTRL-drag the completed card in the mail box alongside the contest vendor.
• Entries may be displayed within the region while the contest is open – so check back to see if yours is one of them.
• At the end of the event, three of the entries will be selected to receive the prizes created by Harry.

Wythburn Attractions

As well as the art exhibition, Wythburn has numerous attractions of its own, including horse riding, a hidden room of magic and spells, a stone henge, The Hall of Faces, a cave to explore, and more.

Participating Artists

GraciAnne Harte (Gracianne), Jaz (Jessamine2108), Jolie (JolieElle Parfort), Max (Maxseagate), Poppy (Popikone), Star (Gossamerstar), Darkstone Aeon, Abi (Abigail Lemongrass), Caly Applewhyte (Calypso Applewhyte), Stevie Morane Basevi (Stevie Basevi), Wildstar Beaumont, Michiel Bechir, Mirabelle Biedermann (Mirabelle Sweetwater), Tour Blanche (Aspen Normandy), Harry Cover (impossibleisnotfrench), Star (Morningstar Finesmith), Tresore Prada Hawkins (Tresore), Skye McLeod (Skye Fairywren), Maya McQueen (Maya Snowfield), Doddy Meiler, Wren Noir (Wrennoir Cerise), Kammy Page (Kambrie Triellis), Mark Steiner (mrcanoehead), and Pavel Stransky.

SLurl Details

Thirlmere is rated Moderate

• Town square
• Meet The Artists events  (Saturdays, 10:00am SLT)
• Wythburn Church

October sees Akim Alonzo’s Itakos Project gallery host an exhibition of art that chimed a strong bell with me, thanks in part to my cosmological interest in astronomy, space exploration and science fiction. Located in the Black hall of the gallery, Space Oddity features a selection of 14 images that are predominantly monochrome in tone, with just touches of colour that give them an almost heartbeat-like splash of life.

It’s an exhibition that apparently grew out of a common interest both Caly and Akim share for the beauty of deep space, and also a mutual love of the music of David Bowie. Given Caly’s attraction to things like cybernetic enhancements and the use of prostheses in her avatar images, these interests combine to present a selection of 14 pieces that are framed by two stanzas from Bowie’s 1969 single, Space Oddity, released just five days ahead of the launch of Apollo 11 and which itself drew inspiration from the Kubrick / Clarke masterpiece, 2001: A Space Odyssey.

This is Major Tom to Ground Control
I’m stepping through the door
And I’m floating in the most peculiar way
And the stars look very different today

– David Bowie, Space Oddity, 1969

These 14 images take us on a voyage, one that wonderfully encompasses several elements, all of which could be said to be reflective of thoughts of space – inner and outer – whilst touching on elements of identity and of human progression and the state of the world around us.

Intentional or not, the offered images appear to be split into three groups, each with its own story, each of which it turn goes beyond the subject our deep space.

On entering the hall and turning to the left, the far end features a series of avatar images set against backdrops that seem to offer up views of who we are and what we might become, indicated by the various cybernetic and machine elements evident in some, and also by the almost tribal-like markings, some red and some blue. They also frame both the reality of our place in the cosmos (star fields and black voids suggestive of endless space) and the conceit that once attempted to put us at the centre of the universe (a head at the centre of an orrery, the planets orbiting around it).

A further set show a hardsuited figure on a planetary surface, mechanical hands clutching a posey of daisies. These again perhaps offer a mix of themes. On the one hand, they could indicate the wonder of the universe that somewhere out there, one day, on another world, we may well encounter the beauty of life (represented by the daises), that we will cherish. But  might they also tell other stories? One perhaps that not matter how far we progress in space, Earth – as represented by the daisies – will always call to us? Or another that stands as a warning that if we do not start nurturing the world around us, the only way we might come to see its open spaces is from within the confines of hardsuits, the promise of life a scarce an precious find within its barren fields?

For here am I sitting in my tin can
Far above the world
Planet Earth is blue
And there’s nothing I can do

– David Bowie, Space Oddity, 1969

The final group of images take us to the original theme of the exhibition as discussed by Caly and Akim: that of floating in space. But here again the interpretation of the images is mixed.

On the one hand, the presence of the odd little fish, with their translucent scales revealing their skeletal forms suggest some of these images don’t represent outer space, but the inner space of an ocean. But is this again the ocean of another world, and the fish its strange inhabitants? Or is it a reminder that there is a vast “cosmos” around us on this very planet within the oceans that make up the majority of its surface, there is much that we have yet to discover – including the wonder of lifeforms of which we’ve remained ignorant for so long? It is, again for you to decide the narrative – although, as with the other images, selecting one story does not exclude any of these others.

Multi-layered, beautifully presented Space Oddity is a marvellously engaging exhibit that should be seen by all who appreciate art that stirs both the heart and the mind.

SLurl Details

• The Itakos Project (Black Gallery – ATL, rated Moderate)