Melu and Whiskey: artistic dialogues in Second Life

The 22 Art Space: Melusina Parkin and Whiskey Monday

Currently open at the 22 Art Space in Bellisseria, operated and curated by Ricco Saenz and Randy Firebrand, is a joint exhibition by Melusina Parkin and Whiskey Monday – the latter making a return to Second Life’s art scene (and the platform as a whole) after an extended absence.

Individually, Melu and Whiskey are two of SL’s most evocative photographic artists, each with a very individual approach to, and style of, visual narrative; and with Dialogues: Patterns, People, their work is combined in a manner intended to encourage the viewer to consider both the distinctiveness inherent in their work as individuals, and the manner in which their work is complimentary / complementary in the use of themes, focus, and presentation, allowing a “conversation” between the artists and the observer to develop.

The 22 Art Space: Melusina Parkin

In all, each artist presents ten images that have been split into two distinct collections. In the ground floor of the gallery  the images are focused on the theme of Patterns, with Whiskey and Melu each presenting four pieces on the subject; on the upper floor the theme of People, with the artists here presenting five works apiece in their respective rooms.

The two sections of the exhibition are then linked by a self-portrait provided by each artist – what might be a joint introduction to People. However, these are two pieces that also set up a conversation of their own, offering as they do reflections on the artists themselves. Within Melu’s it is possible to comprehend her contemplative approach to art, whilst Whiskey’s offers whispers on the intimate self-reflection that is a theme of her work, and the manner in which she so often offers up a reflection of her nature and identity whilst also maintaining a protective distancing between herself and her audience.

The 22 Art Space: Whiskey Monday

Within Patterns, Melu and Whiskey present images that play with the idea of repetition with variance. They offer something of a mix of the abstracted and the direct. Common themes of patterns can be found within individual pieces by each artist, allowing a certain dynamic to exist between them. Take Melu’s Colors 2 and Whiskey’s Choose, for example. Each stylistically uses doors (those of a lockers in one, and the doors of cells in the other), and through both we’re offered commentary on possession, self, restraint, freedom, isolation, reward and secrecy, each piece reflecting off of the other to present new ideas and interpretations.

For People, the narrative threads offered by the artists are less abstracted and more direct. Here ideas more than device conjoin individual images in each of the two rooms, allowing the flow of narrative to flow between the open doorway between the two areas.

The 22 Art Space: Melusina Parkin

Some time ago now, Ricco joined with artist Boudicca Amat to present an experiment in art entitled The Photo Game, in which pairs of artists were invited to select images from each other’s portfolio for display in a joint exhibition, and offer thoughts on why they selected the pieces (see: The Photo Game in Second Life and The Photo Game in Second Life: Proph and a Pey).

With Dialogues, Randy and Ricco have brought together two exceptionally talented artists who expand on that concept through the use of theme and unwritten narrative, thus taking the idea of artistic dialogue in an entirely new and engaging direction.

The 22 Art Space: Whiskey Monday

SLurl Details

The Summer of ’42 in Second Life

Summer of ’42
Hi Inara! I hope you’re well. I don’t know if you’ve ever seen the movie Summer of 42, but I’ve created a new region based on the story. I hope you can make it by one day.

– Justice Vought

So came the invitation from Justice Vought, owner of Oxygen (see: Getting some :oxygen: in Second Life) and also the engaging Once Upon A Time, celebrating Second Life’s most famous residents, the Greenies, and Chocolate Factory, a homage to both Willy Wonka and the Chocolate Factory, starring Gene Wilder (1971), and 2005’s Charlie and the Chocolate Factory, starring Johnny Depp.  Given this heritage, I hopped over to take a look as soon as time allowed.

For those unfamiliar with the 1971 film, it is a coming of age story written by screenwriter Herman Raucher, recalling the time when, as a teenager, he spent a summer vacation on Nantucket Island in 1942 and falls for a newly-married woman, Dorothy, whose husband has gone to England to fight in the war.

Summer of ’42

The film is noted for its haunting soundtrack by Michel Legrand and bitter-sweet story. It started as a means for Raucher to honour his childhood friend, Oscar Seltzer (“Oscy” in the film), who had been killed whilst serving as a medic during the Korean War. However, circumstance turned the story into a tale of the first adult experience of Raucher’s life.

The story uses a number of Nantucket locations – the town, the beach, the house where Dorothy shares for a short time with her husband before he departs for the war – and where Raucher most frequently sees her and has his final encounter with her (they would not have any contact for some thirty years after the – for Raucher – life-changing summer).

Summer of ’42

These aspects of the film are all engagingly interpreted by Justice within :Oxgyen: Summer of ’42, a homestead region directly adjoining :Oxygen: (you can cross between them via a wooden bridge, with the north side of :Oxygen: forming a backdrop to the landing point). Here, on the waterfront, stand the figures of two young boys – perhaps Hermie and Oscy from the film, possibly awaiting the arrival of their mutual friend Benjie.

From here, it is a short walk around to main street, with its post office, garage and movie theatre – which is showing Summer of ’42 alongside a film from the period of the film’s setting: Casablanca, and several other movies besides; some of which were actually made after 1942, such as It’s a Wonderful Life (1946), whilst others serve as neat little Easter eggs for Juctice’s work.

The street looks out over a wind-blown landscape with a smattering of trees, their backs bent against the wind that clearly passes over the setting. It’s a largely barren but photogenic view, dominated by a low hill on which a single wooden house stands, representing the house in which Dorothy lived and in and around which Hermie has his encounters with her. The house in turn looks down over a sweep of beach – perhaps the beach on which Oscy, Benjie and Hermie first saw Dorothy and her husband before the latter’s departure. The beach is again a photogenic setting.

Summer of ’42

However, it is inside the house that treasure is to be found, containing as it does touches that most directly draw on the the film’s poignant final scenes between Hermie and Dorothy.

These occur shortly after Dorothy has learned her husband has been killed in action and is dealing with her grief as Hermie arrives. These scenes are represented through the perfect use of props within the house – the record player, the table with ashtray and curling smoke, the mantelshelf photograph of a young US Army Air Corps pilot and another of his wife, sharing the space with a box brownie camera that may have been used to take one of them.

Summer of ’42

Most of all, there is the envelope, doubtless containing the telegram informing Dorothy of her husband’s death, complete with his service dog tags. Here, as can be found elsewhere on the island, are pointers to the film – a poster on the wall, and the soundtrack lying among a pile of records. A further nice touch is the book on the table with the letter, offering a reminder that as well as producing the film’s screenplay, Raucher also turned the story into a novel.

There are a few anachronisms to be found in the region – vehicles manufactured after 1942,  references to films films of the 70s, etc. However, these do not ruin the atmosphere of the setting; some of them can be put down to the availability of period props, whilst others – as noted – offer nice little Easters eggs for the things that have influenced Justice in his region builds, and the builds themselves.

Summer of ’42

And of course, the bridge to :Oxygen: means that the keen explorer can extend their visit by touring there as well. However, I’ll save that for another time.

SLurl Details

White Noise at Nitroglobus in Second Life

Nitroglobus roof Gallery: White Noise

It is a little over a year since Rose (RoseHanry) was last at Nitroglobus Roof Gallery, operated and curated by Dido Haas (see: Rose’s Feelings at Nitroglobus) However, her return for April 2021 brings with it an exhibition that might be considered something of a thematic continuation of that last exhibition.

In her previous exhibition at the gallery Rose dealt with images intended to convey an emotional narrative – and with White Noise, her new exhibition at Nitroglobus, that narrative is very much continued, albeit it very much more sharply defined. Thus – and assuming she will allow me to express it in this way – where Feelings might be said to be the introduction to that narrative, White Noise, presented in a style that is entirely its own, offers something of a “second chapter” with its own nuance and focus.

Nitroglobus roof Gallery: White Noise

The central theme of this collection is that of dealing with life’s worries and problems – or more correctly, how we can become so obsessed with the issues of the week / day / hour / moment, we can’t actually see our way past them; we become blind to the world around us and thus, potentially to any means of resolving whatever those problems might be.

In reflection of this, the pieces Rose offers in White Noise comprise a set of avatar studies, each of them rendered as a drawing. Each one conveys a distinct mood or reaction or emotion that can be all to readily identified by anyone who has felt overwhelmed by an issue that could otherwise be handled by stepped back from it, collecting thoughts and then facing it, or who has become so focused on a worry / fear that they have forgotten there are those around them who are ready and willing to help, if only they could see this is so.

Nitroglobus roof Gallery: White Noise

The emotional content of these pieces lies not only from the poses and rendering used for each image, but also from the overall framing. There is no backdrop to any of the images, just a white void. Against this light, the avatar is in some of the images strongly defined, bringing to the fore the very physical reactions we can have when problems overwhelm us – such as anxiety (White Noise 02), vulnerability (White Noise 05), or fear (White Noise 09). In others, the avatar appears partially lost against the all-pervading whiteness, thus evoking the sense of being overwhelmed or lost.

But why “white noise” as a title? In many circumstances (certain work or learning environments, dealing with illnesses such as tinnitus or simply trying to block the noise of passenger, and so on) white noise is known to be highly beneficial. Yet the very fact that it does have the power to overcome other frequencies can be damaging / harmful: the absence of noise can leave us focused solely on the absence of noise, leaving us feeling cut off from the world and alone. Thus the title perfectly reflects the theme of this exhibition, with the uses of the brilliant white backdrop within each image further underscoring this idea and the overall theme for the exhibit.

Nitroglobus roof Gallery: White Noise

Officially opening at 12:00 noon on Monday, April 12th, White Noise is available for preview now, and will run through until early May.

SLurl Details

Downtown in Cravone City in Second Life

Cravone City, April 2021

Paradox Ivory has been responsible for some engaging region designs in Second Life (see my pieces D 0 X: an Island Fantasy in Second Life, Emerging from a Tokyo Street Subway Entrance and A return to Tokyo Street and a visit to Umi); little wonder then, that she was selected by Bhad Craven to bring into being his vision for Cravone City, his Full region that finds inspiration in the great cities of the US East and West coasts.

Utilising the land impact bonus available to Full private islands, Cravone City is place for SL business, being the home to brands like Bad Unicorn and Bhad’s own Scotch, and is open to both casual urban role-play and photography.

Cravone City, April 2021

The  setting has the feel of being one of those downtown locations that can often be found a major cities: a place surrounded by the tall fingers of modern office blocks and apartments, but which retains the buildings and streets of an earlier age, a time when cities were beginning to grow vertically as space became an increasingly valuable commodity.

Cravone City, April 2021

Thus, this is a place of buildings five to eight storeys tall, with shops setting under town houses faced by wrought-iron fire escapes and sash windows that look out onto the world whether open or closed. It’s a place that commuters pass through on trains that carry them to the glistening towers of the “new” city at the start of the working day, then back out to their suburban homes in the evening, perhaps barely aware it even exists.

Which is not to say that the world is simply passing by this place without interest. The major roads are now wider than perhaps they once were, speaking to their update to detail with hight volumes of traffic, and there is a certain gentification going on: some of the building have façades that are younger than the rest of them, whilst here and there modern stores have moved in, and boutique cafés are making their presence felt.

Cravone City, April, 2021

All of this gives a certain richness to the setting. As with a real city the old rubs shoulders with the new, and while it is possible to tour what is here by keeping to the broad, sunlit main streets that dive the setting into city blocks, so to is is possible to wander off the beaten track and discover the older, narrower streets; places where renewal perhaps hasn’t reached, or where some might go to find more adult forms of entertainment.

So it is that Cravone City has about it a sense of life, here and there aided by the presence of static NPCs. But just where it might be in the world is entirely up to the imagination. There are clear touches of New York, Los Angeles and San Francisco to be found here, but away from the major roads with their American lean, this could easily be somewhere else entirely – thus offering a lot of opportunities for that free-form role-play.

Cravone City, April 2021

Opportunities for the latter and – perhaps more particularly for photography – can be found throughout, while the touches of detail – the graffiti, the manner in which life spills out of of some of the townhouses and onto their fire escapes, the corners turned into gardens, and so on add a further layering to the sense of lives being lived here.

I don’t know if any kind of urban role-play takes place in the region – I suspect interest was generated following it being highlighted in the Destination Guide in March – but there is no denying Cravone City’s photogenic charms, making it an interesting visit for the SL traveller.

Cravone City, April 2021

SLurl Details

Charlie’s reflections at Eulennest in Second Life

Eulennest Art Gallery: Charlie Namiboo

I first became acquainted with Charlie Namiboo as a result of her involvement in the (long since retired) Frisland region, which I had the pleasure of documenting in these pages on a number of occasions in 2015 / 2016.

Back then we did joke that we had something in common: she referred to herself a the Typo Queen, and I had a habit of wearing a tag that read Kween of Tpyoland. However, and to my shame, it was only later that I became familiar with her work as an extremely talented photographer. So, it’s with a great deal of pleasure that I’m able to write about her latest exhibition of work, which opened at the start of April at Kitten Mills’ Eulennest Art Gallery.

Well, so you asked me about my reasons why I started taking pictures. I guess, it was the same reason as many people have for their Flickr accounts. They simply take snaps of their second life to capture moments and make memories. When I explored places with my partner or had a special moment with him, I took snapshots.

– Charlie Namiboo on her work

Eulennest Art Gallery: Charlie Namiboo

The exhibition is offered without title, but I’ve taken the liberty of referring to it as “reflections” here, because it is the most marvellous selection of images that bring together elements of introspection and commentary on life.

Predominantly presented in black-and-white, these are pieces that are genuinely rich in narrative; more that a picture or image, they are the encapsulation of a thought, a feeling, or an emotion. Each one is perfectly framed and set to words.

I went through different phases; after pure (and very simple) fashion pictures, I fell for taking landscape themed pictures as regions and places became more and more attractive due to better landscape items. I worked with different windlight settings and also created my own when I found out that I was able to change the entire mood of a picture just by changing the windlight. And inspired by some of the greatest story tellers on Flickr, I started trying to tell my own short stories in a single picture.

– Charlie Namiboo

Viewing the pieces offered, it is clear that Charlies does more than just “try” to tell stories in her photographs – she does so quite magnificently. Each of the pieces included in this exhibition beats with a heart as it reveals a depth of soul. These are stories we can all relate to, touching on our own feelings and thought because they embody the things we have so often experienced. Also within them there is at least one challenge (so line on up, and take your place and show your face …), which has a particular depth of meaning in this day and age.

They are also, perhaps, personal reflections – if not on the things Charlie herself has experienced, then certainly on the depth of connection she has with her photography; a connection not only revealed by the images on display, but by the little vignettes of props she has included in the exhibition.

Eulennest Art Gallery: Charlie Namiboo

All told, a superb selection of pictures which I recommend to all patrons of Second Life arts.

SLurl Details

The remarkable art of Tucker Stilley in Second Life

Cape Able Art Gallery: Tucker Stilley – Palimpsessed

Commencing on Wednesday, April 7th, and running through until the end of May at the Cape Able Art Gallery is a most extraordinary exhibition of art from the physical world. Entitled Palimpsessed, it features the work of Tucker Stilley.

The exhibition is being hosted by Virtual Ability, who have worked in partnership with Tucker and his sister, filmmaker, editor, and producer Kate Stilley Steiner to bring the exhibition to Second Life, and I was invited by Gentle Heron of Virtual Ability to a preview of the exhibition ahead of the first of a series of special events that will accompany it.

Born in Santa Ana,  California in 1961, Tucker Stilley is a veteran intermedia artist and distinguished alumni of the Massachusetts College of Art and Design, where he was a member of the Studio for Interrelated Media. A leading member of the Boston arts community throughout the 1980s and 1990s, he has worked the MIT Media Lab, and with his partner Lindsay Mofford, in a range of environments – academia, technology , corporate, public – producing a broad range of art exhibited at the likes of the Museum of Fine Art, Boston, the Boston Film Foundation and Harvard University, as well as continuing to work with the “arts underground”.

Cape Able Art Gallery: Tucker Stilley – Palimpsessed

Now residing in Los Angeles, California, Tucker Stilley is now completely paralysed, the result of ALS/MND (Lou Gehrig’s Disease), with which he was first diagnosed in 2005. Nevertheless, he continues to create the most incredible art that is rich is substance.

He does so using his one means of communications, a hybrid computer he controls with his eyes and which allows him to essentially “live” within the world wide wide, remaining in contact with friends, colleagues and artistic collaborators, seeking inspiration and engaging in research.

Through this computer, and most recently using ophisticated generative software, Stilley literally pains with his eyes. The pieces he creates bring together a host of genres and styles – abstraction, post-modernism, conceptualism, touches of surrealism, collage, etching, and perhaps in places a hint of fauvism – in the most remarkable and fascinating of ways, all of which is demonstrated in the exhibition at Cape Able.  Within these pieces can be found simplicity and complexity of expression, hints of irony or whimsy.

Cape Able Art Gallery: Tucker Stilley – Palimpsessed

Palimpsessed can be further enjoyed every Wednesday through April and May 2021, when Cape Able Gallery will be hosting guided tours between 17:00and 19:00 SLT.

This is a genuinely extraordinary exhibition that is compact enough so as not to overwhelm, but rich enough to provide a look into the life and creativity of a most amazing artist and visionary.

SLurl Details