Category: Reviews

Loss, life and strength, Alone in Second Life

Posted on by Inara Pey
Nitroglobus Roof Gallery: Mihailsk
There are moments in life when you feel like you are losing everything; the laughter, the joy, in short the colour disappears from your life. You are ALONE, nude, mourning about what you lost. You have to find the strength to stand on your own feet again and find the light in the darkness that surrounds you.

– Mihailsk, June 2022

With these words, Greek photographer-artist and observer of life Mihailsk introduces guests to his exhibition Alone, which forms the June exhibit at Dido Haas’s Nitroglobus Roof Gallery. As might be gathered from his intro, this is an exhibition that leans into darker feelings and emotions: loss and loneliness, depression and hurt, whilst also offering a sense of hope beyond the shadow and pain.

The fourteen pieces Mihailsk presents are extraordinary in the depth of life they each offer. All are finished in black and white, using deep shadow and nudity to tremendous effect. But while nudity is present, it is not excessively NSFW, (although caution might be best employed with a couple of the pieces). Nor is its presence in any way gratuitous; rather, it is essential to the exhibition’s theme and tone.

Nitroglobus Roof Gallery: Mihailsk

This is because – as Mihailsk notes – nudity is the most physical manifestation of helplessness / being alone. When nude, we have nothing by which to hide our condition; we are literally and metaphorically laid bare to the world and our scars are openly visible; scars that are not necessarily physical, but certainly emotional (and represented here by the tattoos, marks and drawings present on Mihailsk’s torso and face). Thus its use within these images is a literal expression of naked emotion.

Similarly, the use of shadow and monochrome project feeling and mood. The shadows are perhaps most obviously representative of depression, feelings of darkness, loss and being lost. At the same time, the use of shadows to obscure eyes (together with eyes being closed) speaks again to sorrow, loss, and emptiness.

Contrasting with this is the use of light, both directed and visible. Through the pieces, whether indirect and lighting Mihailsk’s body and face, or direct in the form of beams of light falling across him or the presence of a ceiling light, give a sense hope for the future, and happier times will come again. More particularly, its presence within the images literally pushes back against the darkness, bathing Mihailsk in a sense of warmth, a visual reference to the fact that bad times do come to an end and that – to borrow from another expression – our darkest times come just before the brightest.

Nitroglobus Roof Gallery: Mihailsk

This hope is further expressed through pose. Nowhere is the figure slumped or huddled; instead, the poses all contain one or more suggestions of strength: a muscular outstretched arm, a seated back that is straight, not curved in defeat; the fluid movement of dance, and so on. Thus, they further add to the sense of hope for the future, that our inner strength will allow us to survive and to move forward as we seek the light of better times.

Accompanying the art are two quotes from Greek writer and poet Anastasios-Pandeleïmon Leivaditis and Belgian poet and novelist Eleanore Marie Sarton, both of which perfectly encapsulate the spirit of the exhibition. This can be found on the gallery wall, while lighting by Adwehe has been provided to add further atmosphere to the piece (make sure Advanced Lighting Model is enabled).

Rich in metaphor, meaning and very real emotion, Alone is an exhibition of enormous personal depth, but which offers a richness of feeling that it resonates strongly with anyone who has experienced one or more periods of loss and / or darkness.

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Making Memories in Second Life

Posted on by Inara Pey
Making Memories, June 2022 – click any image for full size

The last time I visited a region design by Claudia (claudia74a Orsini) was almost five years ago, when I explored ~Neive~, a charming Homestead design (see: Visiting ~Neive~ in Second Life). So when I received a landmark to visit her current design, it struck me as a place I should go and poke my nose into – and I’m glad I did.

Also occupying a Homestead region, Making Memories offers a setting of multiple parts that roll together to form a whole worthy of exploration.

Making Memories, June 2022
To the south there’s a waterfront area with a paved footpath and road curling around the edge of the island, backed by promenades of brightly-coloured façades suggestive of a holiday town. West of this, and facing high off-region mountains across a water channel, sits a beach that flamingos have claimed as their own, backed in part by a small motel before cliffs rise from the grass and march northwards beyond the end of the sands.

These cliffs rise to form the island’s main peak, topped by a fortified tower / house that has a hint of medieval France about it. Rising above the surrounding trees, this house sits a little roughly on the hill’s crown and is fronted by a waterfall, all of which makes reaching it near-impossible – but visiting it is not the point; it sits as a backdrop to the setting’s east side landscaping.

Making Memories, June 2022

It is here, on the island’s lowlands, that there is the most to be found. A pastoral setting of farmhouses, meadows, a stream with a quaint bridge spanning it to carry the local (foot) traffic, and more, it is where both the landing point can be found and the attention to detail is the greatest, offering plenty of opportunities for photography.

A short walk from the landing point sits the main farmhouse:  a large single-stories, singled room structure that has a balcony along two sides and a cosy, homely interior design ready to welcome visitors. South of this over the bridge sits a barn which has been converted into an equally cosy summer house. A games room / bar occupies its upper floor – although given one side is open to the elements, an excess of imbibing wine might be best avoided!

Making Memories, June 2022

Between and around the house and barn is much more to be appreciated, enjoyed and photographed: animals in the meadows, seating around a fountain, a romantic wishing well, tea for two next to an old ruin or a family meal out in the garden of the farmhouse, walks out over the waters of the coast or around the local pond – and that’s just for starters.

To the north of the island, sitting on a low shoulder of the western hills, is another house. Occupying its own grounds, it lies at the end of the main track and rises as a red-roofed curiosity. Unfurnished and a little rough around the edges, it is again more for backdrop than internal exploration, and it fulfils this role with ease, the wild garden before it again offering the opportunities for photography.

Making Memories, June 2022

Those who fancy a little activity can find it by grabbing duckie bumper boats from the rezzer and paddle around the water to the north, east and west side of the region. Those who prefer something a little quieter, there are at least a couple of hideaway hammock either hidden among the trees or out on a little island.

All told, a pleasing, easy-on-the-eye setting with plenty of photo opportunities. Those in need of props can join the local group for rezzing rights (L$49 joining fee) – but please remember to pick up your items when done!

Making Memories, June 2022

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An Inner Bloom of art in Second Life

Posted on by Inara Pey

Art Korner: Ms Sqeeeze – Inner Bloom
Update, June 27th, 2022: Art Korner has Closed.

Say it with flowers is a banner line perhaps most recognisable from adverts for Interflora, the global flower delivery service. It is said to be a slogan crafted by ad man Patrick O’Keefe in 1917 on behalf of the Society of American Florists. It was a recognition of the fact that floriography – the  means of cryptological communication through the use or arrangement of flowers that has been a common practice across many cultures in Asia, Africa and Europe – had soared to new heights of popularity throughout Victorian Britain and the United States.

Most usually we associate the use of flowers as a means of shared communication of feelings. We give flowers as an expression of love / desire or as a means of communicating shared sympathy / commiseration / commemoration, or of a united joy / shared happiness, and so on.

However, such is the versatility of flowers that they can be used as a means of personal expression and narrative – and this is beautifully demonstrated in Inner Bloom, a remarkable exhibition of photography by Ms. Squeeeze (Squeeeze), which opened at Frank Atisso’s Art Korner on May 27th, 2022.

Art Korner: Ms Sqeeeze – Inner Bloom

Comprising 17 images spread through a single exhibition hall carefully crafted into three individual areas, Inner Bloom uses flowers to communicate moods, stories and feelings that may be highly individual to the artist, but are richly recognisable to the observer.

Separated by phantom translucent walls, the three spaces making up the exhibition are marvellously graduated in their presentation, the first section offering pieces largely slanted toward monochrome with just soft hints of colour, progressing to images where the colour is more prominent, to those with a depth of colour that contrasts strongly with those in the first section.

At the same time, the style of the images grades through the three sections, from a heavy, but controlled use of shadow and silhouette through to backdrops that provide clarity of image and lighting that more readily reveals expressions, whilst shadow and tone are used to draw specific attention and focus.

Art Korner: Ms Sqeeeze – Inner Bloom

By presenting the images in this manner, together with the changing colours of the flowers that form the “carpets” of the display areas, we are imbued with a sense of shifting moods and thoughts, and our imaginations are drawn to different narrative themes in progressing through the exhibition.

Evocative, rich in interpretation and artistic expression, Inner Bloom should be viewed using the supplied environment setting (World → Environment → Use Shared Environment), and with Advanced Lighting Model enabled.

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Pausing at the Lost Gardens of Pompeii in Second Life

Posted on by Inara Pey
The Lost Gardens of Pompeii, June 2022 – click any image for full size

Update: The Lost Gardens has closed and the region has changed hands. SLurls have therefore been removed from this piece.

It’s been a while since I last wrote about one of Vita Camino’s region designs, so when Shawn Shakespeare sent me a landmark to The Lost Gardens of Pompeii, I immediately added it to my list of places to visit, and finally got the opportunity to do so at the start of June.

Occupying a Full private region leveraging the additional Land Capacity bonus, the setting – as you might guess from the name – is Romanesque is nature. According to its About Land description, it is also a work in progress; so there may be a chance things might change between my writing this and you getting to visit for yourself. There are also some rental villas tucked away on the south and east side of the region, but these are well to one side (and below!) the public areas, minimising the risk of trespass.

The Lost Gardens of Pompeii, June 2022

No landing point was enforced at the time of my visit, so I’ve arbitrarily set a SLurl in this post which will land you on the west side of the region, amidst a busy little waterfront setting. This is not a place of commerce per se, but where local fishermen bring their catch to shore each day and dry and smoke them to provide the village behind with food and, possibly, to trade with the odd passing merchant – at least going by the barrels of wine (or oil)!

The village itself appears to be rather prosperous; the houses solidly built, with room for trading on the lower level and living space above complete with balconies. Their general condition and the well-kept roads might be down to the largesse of the local patrician, whose expansive dwelling occupies the backbone of the region, a rocky table of a hill that steps its way up from the surrounding coast in a series of terraces.

The Lost Gardens of Pompeii, June 2022

It is this part of the estate in which visitors will likely spend most of their time, offering as it does multiple places to sit and appreciate the setting – and to do so in typical Romanesque comfort, complete with fruits and wine set out under tile-roofed pavilions or trellis-topped gazebos. Broad, carefully laid steps offer routes upwards through the terraces – some of which have been created or given shape by the skill of stonemasons rather than by nature – with paths also enticing willing feet onwards.

Water abounds throughout the gardens, with falls tumbling from a rock face to a crystalline pool below, and multiple ponds and fountains to be found throughout. In addition, there are two large bathing pools, each occupying its own terrace but joined by a single stairway which also provides access to the villa’s bath house.

The Lost Gardens of Pompeii, June 2022

Similarly, great care has been taken to both preserve and to plant trees to provide shade and further ornamentation, while statues of deities and (doubtless) ancestors or great leaders keep watch over all that is happening in and around the gardens. And to further ensure blessings be upon the estate and the village below, two temples await worhsippers and offerings (one of which is admittedly just a façade).

The crowning glory for the setting, however, is on the broad flat top of the hill. Here sits a square terrace centred upon an ornamental pond. With pavilions, gazebos, loungers and chairs, fruit and wine, all shaded by the broad growth of mature trees and with columns standing to attention around the periphery, it at first looks “typically” Romanesque. But look again, and certain things might become apparent, initially appearing anachronistic given the overall theme for the setting.

The Lost Gardens of Pompeii, June 2022

Take, for example the fountained pond; it is home to both koi and to red-crowned crane from Asia, whilst paper lanterns of Chinese styling and stone lamps that carry a hint of Japan might also be spotted. Of course, indirect trade between Rome and China (via India) was known to have taken place; so it is possible crane and fish came via that route; however, when taken within the setting as a whole, lamps, lanterns, fish and crane present a unique west-east fusion within the terrace that just works.

Elsewhere in the setting are other unusual elements that give The Lost Gardens of Pompeii a little twists – such as the opportunity to sit and partake of fruit and wine within a portion of the lost city of Atlantis (and no, it’s not under the waters surrounding the setting – it is more unique than that, but you can find it for yourself!). Meanwhile, those looking for textures for their landscaping can also visit Vita’s store, located beyond the northern end of the waterfront village and tucked neatly into a building matching the rest of the décor.

The Lost Gardens of Pompeii, June 2022

Light period role-play is apparently allowed – presumably free style and down to those who visit, rather than anything formalised – and period costume is encouraged but not required. Finished with a natural soundscape and, needless to say, highly photogenic, The Lost Gardens of Pompeii is well worth visiting and exploring.

SLurl Details

  • The Lost Gardens of Pompeii (Islas Ballestas, rated Adult)

Gem Preiz: Exoplanet II: On The Way Back in Second Life

Posted on by Inara Pey
Gem Preiz Exoplanet 2: On The Way Back

In February 2022, Gem Preiz opened Exoplanet: Once Step Further; the first chapter in a two-part series that combines a science-fiction story with his fractal art to offer a vision of humanity’s innate desire to explore, discover, learn about and understand the cosmos around us (see: Gem Preiz: Exoplanet – One Step Further in Second Life). Now, with its formal opening on Wednesday, June 1st, 2022 comes the second chapter of the series, once again hosted by Akiko Kinoshi (Akiko Kiyori) within her “Akipelago” art hub of regions.

In the first chapter (which remains open to visitors) we are invited to a crew of astronaut-scientists engaged on the deep-space exploration of planets beyond our own solar system – referred to as exoplanets in the science community – and to consider the remains of civilisations the crew have discovered, as represented by Gem’s fractal images displayed within the base the crew have established. Now, with Exolpanet 2: On The Way Back, we find the crew aboard a space station (or perhaps, for reasons I’ll come to, a ship-come-station) about to make the return to Earth.

Gem Preiz Exoplanet 2: On The Way Back
Astronomy is a science that makes you dream. The observation of distant objects transports us in space and time, and leads us to ponder the origin of the universe and the possibilities of hosting extra-terrestrial life there. The discovery of exoplanets in 1995 opened up a new field of exploration which could undergo even more spectacular development thanks to the new James Webb telescope. The enthusiasm for their discovery was nourished by science fiction stories, now legitimized by the proof of the existence of these worlds.

– Gem Preiz

As with the first chapter, Exoplanet 2 is both art installation and immersive environment intended to nudge visitors into thinking about life and and interstellar exploration. The station (/ ship) itself is built on a vast scale, with multiple levels to explore, both within the vertical central core (housing the essential systems and services – control, power, life support (including a hibernaculum), medical and essential crew facilities), surrounded by two concentric rings of additional facilities, including labs, crew sleeping quarters, access to docking facilities and small ship hangers, escape pods, etc. Through all of this are points of interaction (look for the hand icons), whilst floor-and-wall mounted teleport disks and buttons provide fast transit between different points of the station.

The art comes in three primary forms to be found throughout the station. The first is a series of eight framed fractal images depicting the worlds the crew has visited; the second, eight sketch-like images of locations within Second Life, serving to remind the crew of their beauty of their home world – and us of the fact they we are all bound to a single, beautiful but wholly fragile planet.

Gem Preiz Exoplanet 2: On The Way Back

The third art element sits within the Entertainment section of the station. Here can be found two large media screens which can display videos of some of Gem’s past installations. These include a video of Wrecks, itself part of a  two-element exhibition of Gem’s art from 2016 (called Heritage) and which also formed an evocative foray into the realm explored through Exoplanet (see: Of Heritage and Wrecks in Second Life).

A fourth artistic element might be said to exist outside of the station, where Gem has used a series of EEP settings to provide a changing backdrop of astronomical images. These include distant galaxies, stars, imagined worlds and moons a lot closer to home, and can be viewed either by camming out or by one of the little personal flyers found in one of the station’s hangers and taking a trip outside. Just be sure you are using the installation’s EEP settings (make sure World → Environment → Use Shared Environment is checked).

Not only do these EEP settings offer an additional layer of art, they also suggest the station is “jumping” its way through the cosmos to bring the crew back to Earth.

Gem Preiz Exoplanet 2: On The Way Back

Exoplanet 2 is also linked directly with Exoplanet: One Step Further via the teleport HUD, which can be obtained at the main landing point (and which provides direct access to the major points of interest in both installations), or by finding your way to the shuttle about to launch from the station, and which contains a teleport to Exoplanet.

A detailed introductory card is available to visitors on arrival, which both provides an overview of the installation and explains some of Gem’s thinking behind it. The card makes for a recommended read, and Exoplanet 2: On The Way Back makes for a rich, engaging visit.

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A Samurai’s Tale in Second Life

Posted on by Inara Pey
A Samurai’s Tale, May 2022 – click any image for full size

Justice Vought opened the next instalment of his journey through region designs over the last weekend in May 2022, and was kind enough to pass me a personal invitation to visit – my apologies to him for taking several days to get to drop in; life is being a little hectic at the moment, and my daily SL activities have been largely confined to logging-in and parking myself for IM’s etc.

This latest design, however, was guaranteed to pull me across to it sooner rather than later because not only is it Justice’s latest build – and I have never failed to appreciate and enjoy his work – it also carries visitors to the Far East, which as regulars to the pages will know is a part of the world I love.

A Samurai’s Tale, May 2022

In particular, A Samurai’s Tale presents something of a tribute to Japan’s feudal history and the time of the samurai military nobility, but perhaps not in the manner one might expect.

The samurai came to prominence during 12th century, with their power and responsibilities growing in the wake of their defence of northern Japan against the attempted invasion by the  Yuan dynasty in the 13th century. During the Edo period, (1603 to 1868) the role of the samurai  became a mix of soldier and administrator, steward and chamberlain within the daimyo estates.

A Samurai’s Tale, May 2022

However, in the latter half of the 19th century, with Japan formalising / consolidated its military and ruling structure under the emperor during the Meiji Restoration, the samurai’s feudal roles came to an abrupt end. However, they did not entirely from Japanese life as they adjusted to new, professional and entrepreneurial roles, whilst their traditions, memory, culture and weapons remain popular through until today.

So popular, in fact, that when considering the era of the samurai, we tend to often just think of the warrior, his armour, and the palaces and great daimyo estates of the shoguns, together with Edo period walls palaces, towns and so on. And this is why, for me, A Samurai’s Tale is refreshing. Rather than offering a single scene from feudal Japan, it instead presents vignettes that can be said to reflect the core virtues expected of the samurai: justice, courage, benevolence, respect, honesty, honour, and loyalty.

A Samurai’s Tale, May 2022

For example, from the landing point, visitors can walk through a small graveyard with shrines to remember the dead, thus witnessing honour.  Over a bridge sits a house representative of loyalty to family and master. Within the house are have period images on the walls, together with a stand holding a pair of katana blades (courage). Travel down the hill from the landing point, and a small fishing village awaits, the kind of little settlement a local samurai would consider as being under his protection (justice / benevolence), and so on.

By not confining itself to a particular period, the setting it allows the music and dance spaces located both close to the house and towards the middle of the region to blend with the rest of the design without looking out-of-place. Meanwhile, there are other numerous elements to be found within the region that fits with the theme – and one which even offers an subtle link to another chivalrous legend, even if it is the purely fictional Arthurian legend.

A Samurai’s Tale, May 2022

One of these touches I particularly like comes in the form of stone-carved versions of Kikazaru, Mizaru and Iwazaru, the three Sambiki-Saru (“mystic apes”), whom we better know in the west as Hear No Evil, See No Evil and Speak No Evil. Perhaps most famously represented by a 17th century carving over the entrance to the Tōshō-gū shrine in Nikkō, they represent the maxim of seeing or hearing no evil in others and speaking no evil of them; a maxim said to be the triple dogma of Tendai-Buddhist philosophy which should symbolise a person’s life. As such, their presence within the region underscores the elements of honour and respect within the samurai virtues.

This is also a place where you’ll want to have local sounds enabled whilst exploring, as Justice has created a local soundscape that blends with the various vignettes, giving them added depth.

A Samurai’s Tale, May 2022

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