Category: Reviews

A walk on the Wild Branch side in Second Life

Posted on by Inara Pey
Wild Branch Brewing Co, August 2022 – click any image for full size

Note: Wild Branch has relocated.

Once again I followed Shawn Shakespeare’s lead and headed for a location which has been on my “to visit” list given it has often popped up in my searches of the Destination Guide, but which I had not got around to hopping over to. That place is the Wild Branch Brewing Co.

Nestled in a secluded area of Riverbook, scattered with lush shrubbery & green foliage, the Wild Branch Brewing Co. is a first of it’s kind craft beer brewery experience in Second Life.
Immerse yourself in rustic tranquillity with luxury amenities for the perfect nature getaway.
It’s your time to be adventurous, be secluded, be daring, be free – our retreat lets you do all of that and more. Come visit us to unwind.

– Wild Branch Brewing Co,  region holder Lexy Nexen

Wild Branch Brewing Co, August 2022

Occupying a Homestead region held by Lexy Nexen, with a design by KaidenTray, this is a richly wooded region, rugged in nature and cut into by water, offering a mix of public spaces and short-term rental spaces suitable for the Second Life “vacationer”.

The landing point is located on the east side of the setting, tucked between the pub with its micro-brewery and a cosy art gallery which at the time of my visit featured a modest display of Second Life focused art by Jennifer Steele.

Wild Branch Brewing Co, August 2022

The pub – based on the superb Kierna Ranch design by Cory Edo (a design I’ve been eyeing for potential use on Myvatn – maybe, someday!). sees the large deck of the default build turn into an open-air music and seating area, the pool neatly converted into the dance floor overlooking the inlet cutting into the region’s heart.

A north-south footpath runs through the landing point and between the pub and the gallery; To the south, it descends to where a finger of an island points westwards, home to a second, outdoor bar, again with its own DJ space. To reach this, on crossing the channel of water separating the main island from the smaller, the path turns past one of the short-term rentals on the region, a small cabin sitting on a deck built out over the water. Beyond the bar, the path continues to where a kayak rezzer sits on the water for those fancying a paddle around the waters of the region.

Wild Branch Brewing Co, August 2022

Northwards, the path doglegs to run along the coast, passing a fenced-off campsite (also available for short-term rent) and a corner rental cabin before turning west to reach further rental cabins clustered either side of a waterfall and pool. A further pool of water sits between the pub and the camp site. Offered as a possible swimming hole fed by another waterfall, this is also a haven for local wildfowl.

The inlet cutting to the heart of the region offers 7-seas fishing and also, at its south-western headland, a further rental property, a substantial 2-storey cabin offering more space and seclusion than the other rentals on the region. Both fishing and cabin are best reached via the kayak mentioned above, although obviously, be aware the cabin might be rented already, and so privacy might be expected. The eagle-eyed might also spot paddleboard rezzer on the shingles of the inlet, whilst another rezzer alongside the 7-seas fishing presents floats for those who fancy cooling down while splashing around in the waters of the inlet.

Wild Branch Brewing Co, August 2022

Surprisingly devoid of an accompanying soundscape – outside of the cracking of a fire in the campsite -, which does leave the setting a little less immersive than might otherwise be the case (no birdsong in the trees? no rumble or splash of water tumbling from vertical or stepped falls?), Wild Branch Brewing Co., is still nevertheless highly photogenic and an attractive visit.

(Note, these is a region surround present that might not be obviously reflected in the photos here; this is because my viewer decided it did not want to fully render the entire surround, so rather than having chunks of it “missing” and random lines crossing through the sky, I opted to de-render the surround.)

Wild Branch Brewing Co, August 2022

SLurl Details

  • Wild Branch Brewing Co. (Riverbrook, rated Moderate)

Ekphrasis: the rhetorical nature of art in Second Life

Posted on by Inara Pey
Artsville: Angelika Corral – Ekphrasis

Now open within Gallery 1 within Artsville, the arts hub operated by Vally Lavender (Valium Lavender) and managed / curated by Frank Atisso is Ekphrasis, a selection of highly visual pieces of art by Angelika Corral, a Second Life photographer of note, and former co-operator of Daphne Arts in SL.

Comprising 10 individual pieces which – I believe – started as Second Life avatar studies, but which have been have been subject to considered post-processing to present a set of unique images created by the artist with the express intent of evoking a response from all who see them. But not, however, a purely emotional (or even visceral response); rather, the intent is evoke responses along more ekphrastic lines.

In its simplest form, ekphrasis is the use of one medium of art (traditionally the written word, be it prose, poetry or lyric) attempts to define and/or describe the essence and for of another, and in doing so, illuminates the art to a wider audience through its description. Some of the pieces I write in this blog on art exhibitions, of example, might be said to be examples of ekphrasis, in that they attempt to present an interpretive commentary on the art to which they relate. A motion picture based on a novel might also be seen as a latter-day form of ekphrasis, bringing the essence and form of the novel to an audience, allowing them to absorb and interpret it more freely than through the written word itself.

Artsville: Angelika Corral – Ekphrasis

In this, such interpretive broadening can be said to be rhetorical; they seek to persuade the audience towards a given reaction or response. Within her exhibition, Angelika embraces this concept, presenting ten images she encourages us to consider and interpret. to develop our own narratives and stories as we examine them; to allow thoughts and reactions to explore the spirit, if you will, of each piece. The fact that the narratives I see may differ from those you see, matters not.

And therein lies, perhaps, the broader genius of this exhibition; “traditional” ekphrasis is generally considered to be a rhetorical device – the words use by the poet or storyteller illuminating the art to which it relates. While this is certainly true here, it might be said that the images Angelika presents are themselves rhetorical devices; when we observe art, we do so entirely subjectively, our views coloured by our own sensibilities – hence my mention of an emotional / visceral response to any piece of art above.

So here, Angelika offers pieces that through their structure and form, themselves take on the role of narrator; they subliminally encourage us – through our own preconceptions / moods – to drive our personal narrative in a direction that is purely in-the-moment; a narrative that will more than likely shift and change the next time we view each one – be that an hour or a day or a month hence.

Artsville: Angelika Corral – Ekphrasis

Engaging, complex and a visual personification of a concept dating back to ancient Greece, Ekphrasis presents a thought-provoking exhibit of art.

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Sweetwater Valley in Second Life

Posted on by Inara Pey
Sweetwater Valley, August 2022 – click any image for full size

It was off to Heterocera once more after Shawn Shakespeare passed me the Landmark for Sweetwater Valley, an utterly engaging region-sized retreat set out as cliff-top parklands running around the edge of a narrow passage of water which has over time, cut its way into the landscape to leave a lone table of rock rising between cliffs and open sea.

Sitting on the north-east coast of the continent, the setting has been designed by Selena XOXO. The landing point sits on the southern side of a broad bricked path as it arcs around the top of the cliffs, and is set a short distance back from their edge.

Sweetwater Valley, August 2022

To the east, this path runs straight and true, passing an ice-cream concession before dropping down a stairway to sit just above the water’s edge. Here, a small wharf sits and a gondola can be taken for an (automated) ride around the base of the offshore island.

Westward, the path curls gently north, passing the entrance to the park from the local highway and also by an old Ferris wheel, to become something of a headland sitting between open waters and the mouth of the gorge. Here sits a tiered area for relaxing and / or dancing, and where steps descend to where a carpet of flowers sit under the shade of trees and a further hidden place to sit and contemplate or cuddle can be found. A further waterside wharf can also be found here, tucked below the terraces, allowing people to hop off (or onto) the automated gondola as it circles the waterway.

Sweetwater Valley, August 2022

The centre island can be reached via the span of a single high bridge sitting atop three tall arches as they march across the waters of the gorge from the western cliffs. This bridge offers access to a waist-high paved footpath which circles the island, occasionally dipping down towards the waters below or providing access to terraces and places to sit.

Facing the bridge as it reaches the island is a set of stairways leading up to the flat top of the island’s plateau, passing by way of a shortcut linking it to the setting’s landing point. The top of the island is a place given over to dance and music, where Elvis is busy swinging his pelvis and Samuel L. Jackson is shruttin’ his funk in moves John Travolta could only dream of in Pulp Fiction. OK, so maybe they are not actually Elvis and Mr. Jackson, but you get my drift…

Sweetwater Valley, August 2022

Finished with a custom soundscape and environmental settings (although it looks good under a variety of the latter), Sweetwater Valley is rich in detail, with sculptures scattered throughout and little touches than encourage one to stay and explore (including a farther ride on the water, for those who spot it under the island!). Yes, there are a few places where the grass and flowers disconcertingly march away from rocks and edges to float in mid-air, but not enough to in any way put one off.

Above all, this is a pace that lives up to its About Land description, requiring very little more to be said about it other than – go see for yourself!

Beautiful hangout with good music, and an awesome dance area. Take that someone special on a romantic Gondola ride. Lots of cuddle spots.  

– Sweetwater Valley About Land

Sweetwater Valley, August 2022

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Rosehaven Seafolk Sanctuary in Second Life

Posted on by Inara Pey
Rosehaven Seafolk Sanctuary, August 2022 – click any image for full size

In July I received an invitation from Matticus Marinea (Matticus.Blinker), the lead builder for Rosehaven Seafolk Sanctuary to pay a visit to the latter and spend time exploring. It admittedly to me longer than I’d hoped to get there – my apologies to Matticus and region holder Owner of Rosehaven Valley and the rest of their community for this being the case.

Below a timeless European country estate, lies a watery realm of mysticism & tranquillity. Rosehaven Seafolk Sanctuary is an open refuge to all ocean dwelling residents of Second Life. We invite everyone to come and explore our large underwater caverns and seafloor. Discover the many hidden wonders, connect with others at the many scheduled events in a safe community atmosphere.

– via Matticus Marinea / Rosehaven Seafolk Sanctuary About Land

Given the location occupies a Full private region with the additional LI bonus, there is a lot to see, with visits starting either above or below the waves, depending on preferences.

Rosehaven Seafolk Sanctuary, August 2022

Merfolk will most likely want to start underwater, as this offers the most varied environment; it’s certainly where Imp and I started our explorations. The landing point here offers information on the region, together with two teleport boards – aquatic and land. Both offer quick access to key points under and above water, but I really recommend exploring by walking / swimming.

One thing that quickly becomes apparent when underwater, is the care that has been put into making things as diverse as possible, mixing larger public spaces with smaller, more romantic  /intimate spots that are tucked away between doors and inside caves or at the end of tunnels or beyond rocky arches.

Rosehaven Seafolk Sanctuary, August 2022

There is also more of a richness of architectural and floral expression to be found here that might be expected from a merfolk environment: places resembling tree houses, plants that might be as at home in a garden on dry land as one where octopi might tend.

Being a long time merman in Second Life, I have seen a lot of underwater sims come and go. A big problem we have as mer-builders is that there just isn’t enough diversity in items (foliage, rocks, buildings) which are made specifically for underwater spaces. Therefore, when I finally had the opportunity to work on something in this larger scale, I wanted to incorporate non-traditional plant life to create an experience that is distinctively different and yet familiar.

– Matticus Marinea

Rosehaven Seafolk Sanctuary, August 2022

Exploring can be done mer-style – by swimming (we slipped into a couple of mermaid-like looks!) or on foot; the central public spaces are neatly paved, and human walkways and paths are clearly marked, and stairs and steps link areas at different depths, while ladders and stairs offer various routes up to the dry land elements of the setting.

That said, finding your way around still requires a little patience and time; just when you think you’ve seen everything, it’s more than likely turning another corner around a shoulder of rock or climbing another set of steps will reveal something more, be it an underwater lawn complete with a miniature of Stonehenge, an oyster-like bed or a little nightclub awaiting a singer at the microphone – and more.

Rosehaven Seafolk Sanctuary, August 2022

Above ground, the region is laid out as a grand manor estate with outhouses. The manor sits with an elegant formal garden before it, the outhouses range around in a quadrangle. The manor, its garden and the majority of the outhouses are private, unless playing hose to an event. The only exceptions  to this are the Tourist information Centre, which forms the above water landing point (complete with information and teleport boards), and the café / bistro facing it.

These latter face a waterside walk, the water spanned by a trio of bridge which provide access to the Rosehaven Theatre, home to productions that include Broadway shows, ballet performances, variety shows, musicals, dance recitals and more, presented by the theatre’s troupe and cast. Alongside of sit the double tier of The Cabaret Club, offering an open air performance space on its flat roof and a further venue inside.

Rosehaven Seafolk Sanctuary, August 2022

A further bridge crosses a water channel between the Club and the Aviary – but as it was unclear whether or not the latter is open the public, we kept clear (there is another small island bracketing the theatre and Cabaret Clubs, and this is home to private residences, so please avoid trespass.

Two islands are also to be found tucked into the region. Within the south-east corner sits Sawyer Island. A little haven unto itself, separated from the manor and other structures by water, it is best reached by boat or  – for those wanting to come to it underwater – by finding the path, stairs and ladder that provide access to the island via a pool close to its centre. Please be aware that Sawyer Island area is a “clothing optional” space; naturists are always welcome but visitors should not confuse “a lifestyle of practicing non-sexual social nudity in private and in public” with anything sexual.

Rosehaven Seafolk Sanctuary, August 2022

Occupying the north-east corner of the region is Fae Haven. Again best reached by boat or by finding your way up to it from underwater, this presents an idyllic, relaxing retreat awash with magic and enchantment, perfect for those seeking a quiet place to relax with friends or to simply be at one with nature. It sits as a welcome refuge to the Fae Folk of Second Life: elves, fairies, sprites & fauns, with the Enchanted Pond often used as a gathering place for dancing and music.

For me, one of the most impressive aspects in Rosehaven is the use of space. The entire size of the region is use for both the above water and undersea settings without either directly impinging on the other. They can thus be enjoyed and appreciated entirely individually to one another, whilst also being gently bound together by their connected access points to present an integrated environment.

Rosehaven Seafolk Sanctuary, August 2022

Finished with an accompanying local soundscape, Rosehaven Seafolk Sanctuary makes for a richly detailed visit (which can take some systems by surprise, so do be prepared to make some viewer adjustments if necessary) with a lot for find and enjoy both above and below the waves.

SLurl Details

Rosehaven Valley is rated Moderate

Invisible Cities: Fighting Women at Nitroglobus in Second Life

Posted on by Inara Pey
Nitroglobus Roof Gallery: Debora Kaz – Invisible Cities – Fighting Women

Invisible Cities – Fighting Women is the title given to a combined 2D and 3D art installation by Debora Kaz that is currently open to the public through until the end of August 2022 at Nitroglobus Roof Gallery, curated by Dido Haas.

Supported by a custom lighting environment created by Adwehe, this is perhaps one of the most complex installations and layered installations I have seen – something that in itself is saying a lot: Dido has a consummate skill in challenging the artists she invites to exhibit at Nitroglobus, consistently leading to installations that stand head-and-shoulders above those found elsewhere in Second Life in terms of their richness of presentation, meaning, and narrative.

Perhaps the best way to describe the installation is to use Debora’s own words, both from the introductory notes (available via the giver at the landing point) and the open letter Debora has written form women and which is displayed on the north side of the gallery space (and which is included with copies of each of the pieces in the exhibition when they are purchased):

Invisible Cities – Fighting Women wants to show the pain and difficulty of being a woman in a world where women historically were portrayed as objects of desire, exposed to consumption, which induces rivalry, resulting in us women not having a real union to fight the violence that is directed at us.

– Debora Kaz, introducing Invisible Cities – Fighting Women

Nitroglobus Roof Gallery: Debora Kaz – Invisible Cities – Fighting Women

Whether we like it or not, we live in a world that is largely derived in terms of patriarchy, be it societal, historic, or religious or a mix of all three. It is a global environment where even today, women are faced with a broad range of physical violence (1 in 3 women world-wide will be beaten or raped or face other forms of direct violence at the hands of males at least once in their lives) and more subtle psychological violence.

It is something many women the world over are trying to address and overcome through projects and activities such as One Billion Rising, through protests, activism and even through art – as has often been seen here in Second Life.

Nitroglobus Roof Gallery: Debora Kaz – Invisible Cities – Fighting Women

However, as Debora moves to point out in Invisible Cities – Fighting Women, we so often undermine these efforts by committing “violence” upon ourselves and one another: we cave to the demands of advertising, objectifying ourselves, turning ourselves into things of desire to attract others; we seek to dominate one another at work or socially, and so forth.

Within this capitalist game of consumption and desire, women compete with each other attack each other in an irrational way; and most of the time, they are not aware of it, because of the superstructure. Structural misogyny occupies the minds of not only men, but it is also present in the formation of every woman who is born objectified. The demand to be desired grows and seeks to be desired all her life – by men, but mostly by women; to be desired by another woman is to have power, to be better than others is wanting to be better than any other woman.
With this in mind, the union that women desire [in order] to combat violence against women [as] imposed [by] the history of patriarchal societies becomes unviable. It is not possible to unite when someone wants to have one power relationship over another.

– Debora Kaz, Invisible Cities – Fighting Women

Through the 16 images and 5 sculptures, Debora presents aspects of all of this in quite vivid and engaging pieces. Within them, we can find reactions to patriarchal dominance (Fuck God) to the need for mutual support (I’m By Your Side), and more. Throughout all of the pieces, colour pays a major role. Pink references both female empowerment and the struggles we face  – external and internal – to be understood as individuals, while harder, courser colours are used to represent emotional and the turmoil they can and create and the conflicts – again, internal and between one another – they induce.

Nitroglobus Roof Gallery: Debora Kaz – Invisible Cities – Fighting Women

Individually, these are striking pieces; each carries a weight of narrative that has impact – this cannot be denied. However, I would be remiss if I didn’t admit to being somewhat confused in understanding the core theme and message of this installation. I’m not sure if this is down to a shortfall on my part or because the artist has accidentally cast her net too wide and introduced to much in the way of narrative and subtext. As such, I encourage you to visit and explore Invisible Cities – Fighting Women for yourself and free from any confusion on my part.

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The art of Suzanne Graves and AL in Second Life

Posted on by Inara Pey
Selen’s Gallery: Suzanne Graves

I’m a little behind in my art blogging (and blogging in general), so I’m getting to this article a little later than intended, having originally hoped to get it out over the last weekend in July because it is something of special event in Second Life, featuring as it does the 3D work of Suzanne Graves, with a special exhibition of 2D art by Selen’s father, AL.

Having opened at the ground level on Selen’s Gallery, operated and curated by Selen Love (Selen Minotaur), this untitled installation features the 3D piece by Suzanne Graves, whose work has been featured in exhibitions at such august institutions as the University of Western Australia and Linden Endowments for the Arts and at arts hubs such as Sinful Retreat.

Selen’s Gallery: Suzanne Graves

Here, Suzanne presents a series of 3D sculptures with a lean towards the surreal. Some are static, others are animated with either moving parts or shifting colours – and in some cases, both.

Created entirely using prims, sliced, cut, twisted to create almost organic forms, these pieces are a remarkable celebration of natural form and the richness of geometry, bound together in an expressive environment created by Selen. However, to see them at their best, it is strongly recommended that you do so with the viewer’s Advanced Lighting Model enabled (Preferences → Graphics) is enabled, and you utilise the environment settings Selen has created for the gallery space (World → Environment → Use Shared Environment).

Set one side of the Suzanne’s pieces is the glass pavilion where AL’s artwork is displayed.

A physical world artist, AL works in oil acrylics, and the 15 pieces presented here have been selected by Suzanne, who encouraged him to consider Second Life as a further means to show his work – and this exhibition represents the first time he has done so.

AL’s primary inspiration in terms of genres is that of surrealism – and that is certainly to be found within these pieces, as are touches of abstractionism. He is also an experimentalist, sometimes using paint pouring to produce pieces.

As the name suggests, this is a technique – or rather, a series of techniques – primarily used with acrylics, where the paint is “poured” onto the canvas, rather than by using a brush. However, it is not simply a case of taking the paint and just tipping on to suitable medium (e.g. canvas or paper); not only do the paints require different approaches to how they are diluted in order to alter their viscosity and the degree to which the will flow, it also involves a range of techniques to assist in how they are blended and mixed, either as a part of the pouring process, or before they have dried, to develop a finished result.

Selen’s Gallery: AL

These mixing techniques are many and varied – pouring a batch of colours into a single container with one or more outlets, and letting them pour through as the container is gently swirled to mix them, or pouring them individually either directly onto a surface or a base colour / tone and then using assorted tools (such as a hairdryer!) to mix them / form patterns within them, and so on.

Several examples of the technique sit among the pieces presented within the exhibition at Selen’s Gallery, some of which are combined with more direct surrealist over-painting to produce the most richly colours and engaging pieces. Other pieces are more “traditionally” produced, folding in both surrealist elements and  / or abstract painting.

Selen’s Gallery: AL

All of the pieces by AL are for sale, but rather than being offered at a fixed price, they are offered on the basis of “pay what you will” by means of a tip jar just outside the entrance to the gallery pavilion (the pieces themselves are offered at L$0), and Selen will ensure gratuities are passed to her father.

Visually captivating, demonstrating both the power of prims in artistic expression and also offering a view of physical world painting techniques which may be unfamiliar to many, this is a exhibition not to be missed. And while visiting, don’t miss the teleport point just outside the pavilion to reach Selen’s gallery on a sky platform, home to her own art.

For those curious about paint pouring, check the video below.

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