Art and an Eternal Bastion in Second Life

SLEA 8: Sophie de Saint Phalle – Eternal Bastion
The world is changing in multiples way. From politics through economics to climate, everything is in flux; and in the case of the first in particular, established norms so long a part of our lives are being torn down, or at least remodelled into something unfamiliar – and not necessarily better. Foundations we once believed to be firm and unchanging are crumbling, and we are increasingly faced with daily confusion and uncertainty. Given this, it is essential we have a place of silence and solitude; a place where we can have room to breathe, to think, to regain clarity. This is the central theme offered by Sophie de Saint Phalle in her latest installation Eternal Bastion, which recently opened at SLEA 8, and will remain so for the next 6 months. This is something of an interactive installation, featuring Sophie’s copper etchings and lithographs, which visitors are invited to explore in light of the core theme for the installation, and the need for a sense of stability and peace.
SLEA 8: Sophie de Saint Phalle – Eternal Bastion
The ETERNAL BASTION is one such place: Beyond the noise, beyond the headlines.
It stands for our innermost self — the centre, the core, the untouched soul. A bastion on an island — far away, and yet only a spiritual sea journey from your own inner self. But to get there you often have to travel through the darkness.
To truly see, we must first close our eyes. The blindfold becomes a paradox: it covers the visible world so that another one is revealed — an inner world, an invisible truth. In the darkness, another light emerges: A view, not of the eye, but of the mind.

– Sophie de Saint Phalle, Eternal Bastion

On arrival, visitors will be asked to join the local Experience, which enables the auto-teleport. The Landing Point, a small outcropping of rock – one of three – lying off the coast of the main installation island, features a plinth and a circle of slowly rotating, floating stones. The former offers an introduction to the installation, a blindfold and a note to step through the floating stones when ready. The instructions should be read for the full context for the installation, while the blindfold is an illustrative means of representing the one Sophie references in her introduction.
SLEA 8: Sophie de Saint Phalle – Eternal Bastion
Providing you have accepted the local Experience and shared environment, and you’ve enabled both local sounds and the music stream for the installation, walk through the slowly rotating floating stones to be teleported to the main installation island. It is here that a massive edifice of basalt columns, concrete blocks and glass resides. It stands as a cross between a modern take on a cathedral and a kind of fortress of solitude. It ideally represents the idea of an inner world, a place in which we can feel safe – and contemplative.  Within this structure, beautifully illuminated with point lights, hang Sophie’s etchings and lithographs.
SLEA 8: Sophie de Saint Phalle – Eternal Bastion
Those familiar with Sophie’s work may recognise these from her own Subcutan gallery, about which I’ve written on several occasions within these pages, and / or her 2022 installation Cyborgs (see: Art and Cyborgs in Second Life). That they have been seen / used before doe not make their use any less impactful here; they are vivid and carry a depth of narrative which greatly encourages contemplation and (potentially) self-reflection within the framework of the installation’s central theme. Surrounding the “fortress” are grounds overlooking the surrounding sea and offering points of interest – waterfalls, sculptures (one of which is by Sophie) and a stone grotto overlooking one of Lia Woodget’s sailing vessels.  I think the latter may have been left over from the opening event, offering as it does a bar, cabins and clay pigeon (skeet) shooting. It does not appear to be connected to the rest of the installation via teleport (unless I missed it), so I wasn’t sure quite what to make of it. The above aside, Eternal Bastion is a deeply engaging and thought-provoking installation.
SLEA 8: Sophie de Saint Phalle – Eternal Bastion

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Time in a Paradise of Fantasy in Second Life

Paradise Of Fantasy, August 2025 – click any image for full size
Paradise Of Fantasy is both a home to the Vanaheim family and a setting open to the public to explore and enjoy. A Full private region, the location is the work of BarB Randt Vanaheim (BarBarella Darkrose) and Ivy Vanaheim (Ivory Ireton), and encompasses within itself multiple aspects of fantasy – although it is not per se a role-play setting.

Nature meets fantasy in this home for the “Vanaheim Family” and all fantasy creatures. This  magical place where fantasy creatures stand strong together in light and darkness.

– Paradise Of Fantasy About Land / Destination Guide description

Paradise Of Fantasy, August 2025

The Landing Point sits just off of one to the many trails winding through the setting, and close to a large manor house. Like all the buildings in the region, it is open to the public, although the furnishings are an esoteric curio. Rooms include conventional lounge-style furniture to more period pieces, to a classroom (for magic?) and offices with a mystical air about them, whilst the loft is devoted to games and pastimes.

The Landing Point itself includes a Welcome scroll. When touched, it will provide an introductory notecard for visitors, together with the local rules. The latter are minimal and easy to remember, being common sense.

Paradise Of Fantasy, August 2025

Where you go from the Landing Point is entirely up to you; as noted, there are numerous trails winding through the setting, and signposts (and warning signs in some cases!) offer direction or  humorous cautions.

The landscape itself is beautifully put together, presenting a wooded setting, rich in colour from trees, shrubs and the flowers carpeting much of the ground.  Two streams cut through the setting, one rising form waterfall on the south-east coast of the land to meander northwards to empty into a pond tucked in the north-east corner of the region.

Paradise Of Fantasy, August 2025
The second stream might be considered more of a channel. It enters the region from a bay on the west coast and runs inland before turning north to once more return to the coastline, essentially splitting the north-west corner of the region into its own island.  Both streams are spanned by wooden bridges (and tree trunks) so feet need not get wet when crossing them.

Sitting within north-western corner of the region are two more structures: the Woif’s Grotto and Eiarion. The former is a cottage literally built / hewn into a rock formation, carrying with it a Nordic / medieval sensibility. The latter occupies a headland reaching out from the bay mentioned above. Taking the form of a fairly intact ruin, Eiarion presents a mystery as to how to access it; all of the windows are either intact and glazed or boarded-up.

Paradise Of Fantasy, August 2025

The solution to the mystery can be found in the teleport stones which can be found close to each point of interest in the region. These form a network of teleports, and using the Eiarion destination will deliver you to the interior of the ruins – I’ll leave you to reflect on how to move between the two rooms.

This teleport system also provides access to those locations not necessarily directly accessible from the ground. Two of these are in the sky, one of which is well rooted in a fantasy sky, the other offering a Japanese setting. A third lies under the western sea of the region. Taking the form of an octopus’ garden, it comes with the not unreasonable request don’t pee in my sea(!).

Paradise Of Fantasy, August 2025

A further cottage lies to the north-east of the region. Set as a witch’s home, it offers broom parking outside and potions and seed for sale in the garden. It sits not far from where a fortune teller is waiting to tell you all about your future – or perhaps, how to cover up your past – as the song goes.

Nor is this all; throughout the setting is a richness of detail in glades and along the trails. Ruins sit partially overgrown, little shrines mark hallowed clearings among the trees; benches, chairs, blankets, and boats offer places to sit. For those who enjoy music there is a grassy clearing set up for events, details of which I gather can be obtained by joining the local group.

Paradise Of Fantasy, August 2025

In all, a beautiful, well-designed region mixing nature, mysticism and fantasy in a package rip for exploration and photography.

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Cica’s A – Maze in Second Life

Cica Ghost: A – Maze, August 2025

For August, Cica Ghost presents A – Maze, an interactive setting offering a little fun and turning a quote from author John Green somewhat on its head.

As the name might suggest, the core theme of A -Maze is just that – a maze. Formed by capped brick walls, it covers most of the region. Unlike most mazes, however, this one doesn’t have a centre or destination / goal, nor is it a unicursal; neither is it precisely a branching tour-puzzle (although it does have a form of branching). Rather, it is a means to offer assorted routes of exploration around the setting, with assorted points of exit and re-entry.

Cica Ghost: A – Maze, August 2025

While it can be travelled on foot, the maze is can also be explored via the vehicles Cica presents to visitors alongside the Landing Point. As is typical with Cica, there are no ordinary vehicles; instead they add to the region’s whimsy by taking the form of four animals carved from wood – a duck, horse, elephant and giraffe – all set on wooden chassis. Two sizes of vehicle are supplied, the smaller set of four lined up to one side of the Landing Point and potentially offered for Tinies.

By default, the vehicles move at a pedestrian speed. But if you are feeling daring then tap the Page Up key to apply the second gear and and little more speed (Page Down to slow down again). In this respect, the smaller vehicles are possibly more fun, as they are small enough to zip around the maze in comfort.

Cica Ghost: A – Maze, August 2025

The maze is not the only feature of the setting. Towards the middle of the region is a little village raised on the back of a steep-sided plateau, with bottle houses and a windmill. It is slightly overgrown by great vines, some with seed-like seats hanging from them. Elsewhere thumb-like hills are topped by trees or have ladders climbing them to individual bottle houses. Also waiting to be found are some of Cica’s little critters, while some of the walls of the maze are painted with more of Cica’s creations, brightening their brickwork.

The quote accompanying the build is from Looking for Alaska, John Gren’s 2005 novel for young adults:

At some point we all look up and realize we are lost in a maze.

Cica Ghost: A – Maze, August 2025

In its original form the quote references the central themes of the novel – that of coming of age, the meaning of life and grief. As such, it can be seen as slightly dark in tone and meaning. Here, Cica turns it on its head, offering an underscoring to the idea that mazes can offer journeys into the unknown (as is life itself, really), filled with unexpected delights. In this, if one wanted to be totally analytical, A – Maze echoes the ultimate message from the book, that of hope.

Not that any analysis of quote and setting is required; A – Maze is enjoyable in and of itself.

Cica Ghost: A – Maze, August 2025

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Exploring Oscarton Forest Park in Second Life

Oscarton Forest Park, August 2025 – click any image for full size

I recently received an invitation from William Gide to visit Oscarton Forest Park, a setting designed by William and his SL partner, Dekon Carter.

Comprising a number of parcels spanning two regions within the south-east of Heterocera, the park offers around a quarter of a region of a landscaped setting with something of a unique history.

Oscarton Forest Park, August 2025

The Park started life as a “COVID sanity project”, helping William – who designed the majority of the ground level elements – cope with lockdown by allowing him to exercise his creativity. Since then, the park has remained open as a public setting which visitors can use as a place to enjoy a sense of nature and recharge their batteries.

Given this, there are a number of distinct Landing Points to be found throughout the park. For the purposes of this piece, I’m going with the “main entrance”, so to speak, as it is here visitors can obtain a notecard with landmarks to the main hangouts within the setting.

Oscarton Forest Park, August 2025

Bordered by part of the SLRR to the west and a river gorge to the south, the latter spanned by a bridge leading to what I believe to be William and Dekon’s private home, the public park runs northward. Passing a vegetable garden, the landscape opens out to offer a choice of possible exploration routes, the clearest being the main path.

The latter sweeps out to the east side of the park, passing between two Chinese lion statues, the first of multiple pieces of sculpture awaiting discovery as one explores the park. In making its sweep, the footpath skirts the lower end of the forest, a copse of silver birch. However a trail also runs through the birch trees, almost doubling back on the main path to drop down to where a trail points to the north and west, winding through the forest proper.

Oscarton Forest Park, August 2025

The main footpath, meanwhile descends to where a bridge spans one of the parks streams, joining another path as it follows the bank of the stream northwards. Passing by way of a secluded cabin, this path eventually drops down to the setting’s camp site prior to making a sharp left turn to arrive at the octagonal pavilion.

This pavilion can also be reached via one of the many paths branching off from the second trail mentioned above, all of which pass various places to hang-out and also admire some of the large wood sculptures to be found among the trees.

Oscarton Forest Park, August 2025

The northern end of the park includes two newer elements. The first is the Oscarton Forest Café. Occupying a large building by Cory Edo, on its east side this overlooks one of the park’s bodies of water and the pavilion beyond. On its west side, the café offers a terrace with seating a view of any passing trains.

Steps lead down from the terrace to a stone footpath and walls forming a border to the park, looking like it may have been some form of ancient fortification. Tucked within a part of these works – which also run along the northernmost extent of the park – is the Oscarton Forest Park Reflection Cove, described as a place for meditation.

Oscarton Forest Park, August 2025

Also to be found within these walls is a Zen garden watched over by two large rune stones, whilst the woods in this northern extent of the park also hide the teleport platform up to the sky platform – but I’ll leave that for you to find.

Offered with a richness of detail, Oscarton Forest Park is an idyllic location, and for a first-time public build, is exceptionally pleasing to the eye and rich in opportunities for photography and for relaxing.

Oscarton Forest Park, August 2025

My thanks to William for the invitation to visit; I really enjoyed doing so.

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An overdue return to Athenaeum in Second Life

Athenaeum, August 2025 – click any image for full size

In talking to Dema Fairport at the Content Creator’s User Group recently, I was reminded that it’s been six years since my last visit to her engaging, Adult-centric and richly landscaped region of Athenaeum (see The scenic glory of Athenaeum in Second Life).

Part of the reason for this is because the major parts of the region are well-established, and only subject to the most subtle of changes – which can made blogging a little difficult. Not that the region should change just for the sake of blog posts; it has scenic beauty which is captivating to both the eye and the camera which could so easily be lost with any large-scale changes.

Athenaeum, August 2025

That said, six years is a long time between visits, so I was keen to wander around once more just for my own interest; and because so much time has passed, I thought I’d offer another write-up for the benefit of those who might not be familiar with the region or its beauty.

The virtual home of the real life Carter/Johnson Library which is owned by Viola Johnson. The library is a collective history of various kinky communities who have chosen to live and love differently. Come explore the Museum and Photo Gallery, take a walk through the lands, or find a place with that special someone to enjoy some relaxing time together or some special kinky time. Photographers Welcome, please be respectful of all.

– Dema’s description of Athenaeum

Athenaeum, August 2025

The (to me) familiar elements within the setting comprise the Carter/Johnson Library, mentioned in Dema’s description, the manor house, the pool house, most of the major structures, including the main bridges and footpaths, and the overall lie of the land, cut through as it is bye channels and a river.

The Landing Point for the setting is on the west side of the region and takes the form of a deck built over the water and home to a café, which I understand from Dema is a new feature of the setting. This sits close the aforementioned Carter/Johnson Library buildings, which itself is worthy of some expansion.

Athenaeum, August 2025

Existing in the physical world, the Carter/Johnson Library and Collection, is a 501(c) (3) organisation founded by Carla Viola “Mama Vi” Johnson (September 9th, 1912 – January 31st, 2006). It forms a collective history of various communities who have chosen to live and love differently. The collection includes thousands of leather, fetish, S/m, kink and alternate sexuality books, magazines, posters, art and more, dating back to the 1700s and chartered to bring this history to the communities it serves.

It is the Library and Collection which supports Athenaeum within Second Life, with the Library within the region recreating of one of the Library’s physical world exhibitions charting the history of BDS and kink from the 1500s to modern times – and offering a glimpse of times early than the 1500s.

Athenaeum, August 2025

A short walk from the museum is a gallery devoted to the work of New York fetish photographer Darque. Also to be found in the plaza and gardens housing the library and gallery is a quiet outdoor seating area complete with playable chess and draughts (or checkers, if you prefer).

Eastwards from the museum and gallery, a cinder path rises into the region’s central uplands to join a broad bridge spanning a gorge to provide access to the manor house is it sits on a high plateau. For those who prefer, a grass trail leads up to where wooden cabins surrounded by tall pines overlooks the north coast beach. One of the two cabins offers a wooden stairway down to the beach, but another way to reach it is to head north from the landing point, following the signs to the camp site out on the north-west headland.

Athenaeum, August 2025

The manor house itself remains much as I originally found it in 2018, when I noted:

Within its rooms are leather arm chairs, great bookcases filled with tomes awaiting reading, fires in the hearths, bottles of port and cigar humidors on some tables, coffee and After Eight mints on others, and just the most subtle of hints as to some of the activities that might follow conversations in these rooms; activities which themselves might be enjoined in the rooms above, going by their décor.

– This blog, August 2018

Athenaeum, August 2025
Again surrounded by trees – Athenaeum is, among other things, a woodland haven – the manor house also features a terrace area for music events, with an adjacent pool. This terrace overlooks a precipitous drop on its west side and one of the region’s smaller islands, whilst on its north side it looks over the channel separating the manor’s high perch from the low-lying museum.

The plateau on which the manor house stations hides a secret. To be honest I didn’t work out how to get down to it and back, and resorted to cheating with a sit TP. I assume there is a hidden TP I missed. Another couple of places I don’t remember from previous visits. One was a smaller house sitting on an island to the south-east, is an outdoor ceremonial area one an island tucked into the north-east corner of the region.

Athenaeum, August 2025

Whether all of these are new additions since my last visit or not, I can’t say; six years is a long time; visits, and memory can play tricks. But that aside, Athenaeum is a richly engaging a beautifully put together region offering a lot to see and appreciate, regardless of one’s interest (or otherwise) in kink.

In fact, such is the overall low-key nature of the region’s BDSM elements, Athenaeum can be enjoyed without reference to it more adult nature, offering as it does a beautiful environment with multiple places to sit and pass the time, and plenty of opportunities for photography.

Athenaeum, August 2025

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Beach Life at Nitroglobus in Second Life

The Annex at Nitroglobus Roof Gallery: Kelsey Yuitza, Beach Life

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.

The Annex at Nitroglobus Roof Gallery: Kelsey Yuitza, Beach Life

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).

The Annex at Nitroglobus Roof Gallery: Kelsey Yuitza, Beach Life

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.

The Annex at Nitroglobus Roof Gallery: Kelsey Yuitza, Beach Life

A truly marvellous exhibition; one not to be missed.

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