Idrial Difference (Idrial Ghost) is the owner of, and creator for, _-FAS-_, the store of plants & fantasy avatar attachments inspired by nature. He is also a 2D and 3D artist, and his most recent exhibition recently opened at The Glinka Gallery, operated and curated by Wolfgang Glinka.
Lockdown Botanica is a series of images from the physical world he produced during 2020’s first pandemic lockdown period, mixed with some of his 3D mesh creations.
As the title of the exhibition might suggest, the images presented within the exhibit are all of plants, flowers, leaves, fruit and – with one piece – birds. All are beautifully presented in soft watercolours, with the majority of the pieces focused on a single fruit or flower that is presented against a pure white background that encourages the eye to focus purely on the shape and colour of the subject without any distraction.
The Glinka Gallery: Lockdown Botanica
This approach elevates each piece from being a simple painting of a fruit or flower to being akin to a portrait as engaging as any portrait of a person or avatar, with the subtleties of form and colour playing as important a part in defining each subject as readily as the lines and expression on a face in a human portrait.
The two exceptions to this approach are Grapes Portrait, and Garden Tales. Both are again offered with plain white backgrounds, directing the eye and mind to focus on their subjects, the small grouping of the former giving a suggestion of life through its familiar depiction of grapes, the latter clearly suggestive of life and vitality through the presence of the two Cyanistes caeruleus.
Whwn viewing these pieces, with their lone focus on a specific item, rather than depicting each as sprays of flowers in a vase or a selection of fruits in a bowl, that brings to mind thoughts of the lockdown in which they were created. There is a sense of isolation and separation about each piece that is reflective of the sense of being separated from friends and family. Again, in this, both Grapes Portrait and Garden Tales stand a little apart, offering a view of times in the future when we will again be able to gather together with friends (Grapes Portrait) or spend time with someone we hold particularly close, but have been unable to see (Garden Tales).
The Glinka Gallery: Lockdown Botanica
Rounded out by 3D cacti, water lilies, tree stumps and more (make sure you touch the eggplant for a gift), Lockdown Botanica is an engaging exhibition by a creator and artist.
In 2019, we made our first visit to Amrum, the Homestead region presented for public enjoyment by Sunrise (Sunrise Avalanche) – see Amrum in Second Life. A lot has happened since then – most notably the fact that Armum has relocated, and has undergone at least one makeover. Back in 2019, our first visit to the region came at the suggestion of Shawn Shakespeare (SkinnyNilla), so there is a certain serendipity in the fact a return visit in January 2021 also came after Shawn nudged me about it.
Sympathetic, charming, cosy and photogenic island…with many hideaways…time for feelings…dancing…time for two…waves..lonely beaches…riding….dreaming…meeting with friends…talking….
– from Arum’s About Land description
Amrum, January 2021
The current iteration of Armum contains a number of echoes of the version we visited just under two years ago: it retains its Adult region rating and the hint of BDSM activities (although not in a manner liable to put people off visiting), whilst the overall look of the setting retains the idyllic feel of a near-tropical region. Its open spaces means it remains welcoming to those who want to wear a horse and take a ride around the island.
The landing point lies towards the middle of the region and immediately reveals its sandy, open nature. The entire island is low-lying, the sand broken by scrub grasses, shrubs and relatively young Terminalia catappa, aka sea (or beach) almond. From the landing point, visitors are free to roam where they will.
Amrum, January 2021
The two main buildings on the island make for obvious destinations, each being a short walk from the landing point. The nerarer (and larger) is clearly visible to the north, and forms a large blockhouse style building. Flat-roofed and relatively high-ceilinged, its interior offers a cool relief from the outdoor warmth, the three rooms it provides simply furnished whilst still presenting a cosy retreat in which to enjoy the company of others, with further seating available on the outside deck that separates the house from a rectangular outdoor swimming pool.
To the south-east, the second house sits partially screened from the landing point by a line of sea almonds. It occupies roughly the same footprint as the first house, but offers more interior space that, thanks to the interior windows between the rooms, has a very open, airy feel. It is also somewhat more cosily furnished – although BDSM items form a more obvious part of is décor together with noticeably items and images.
Amrum, January 2021
This second house additionally shares the south-eastern end of the island with a single-room cabin that sits as a sauna / bath house, whilst the shallow cove they both face makes for a little private beach bracketed by rocky outcrops extending into the water.
Further around the west side of the island, and again a short walk from the landing point, sits a trio of little beach houses that each offer a place to relax, while further still along the sweep of coastal sands and facing due west, sits another single-room cabin with an open deck for music and dancing sitting alongside it.
Amrum, January 2021
The buildings and decks are not the only places to sit; there are numerous outdoor opportunities as well – beach chairs, hammocks, and off-shore folly on its own sand bank, blankets, and so on, some of which are watched over by the local sheep. All offer opportunities for people to relax and unwind within the island’s boundaries. There are also various details to be found, indoors and out, that further help retain Amrum’s reputation as a photogenic spot, with the entire setting nicely rounded-out by a suitable sound scape.
The Edge is Kultivate Magazine’s gallery space specialising in black-and-white photography exhibitions, generally hosting ensemble art displays by artists responding to calls for artists that are periodically announced by the Kultivate team.
Sunday, January 17th marks the first such exhibition at the gallery for 2021, featuring artists Jessamine2108, Maaddi, Eucalyptus Carroll, Johannes Huntsman, Moora McMillan, Blues Rocker, Tempest Rosca, Jamee Sandalwood, Veruca Tammas, Vita Theas and Myra Wildmist.
Kultivate The Edge: Veruca TammasAs tends to be the case with ensemble exhibitions, the art is wide-ranging in subject matter, featuring avatar studies, reflections on SL art, landscapes, and more. The majority of the artists are familiar to me, and and individuals whose work I always appreciate seeing – although I admit that both Maaddi and Moora are two artists whose work I cannot recall having previously witnessed – and I admit that I found the three pieces presented by Moora attractive in both their subject matter and presentation; Path Near the Sea in particular.
One of the aspects of monochrome photography I particularly like is the matter in which it can add a depth of life to a image, often more so than if the image had been produced in colour. In the latter the subtleties within an image can sometimes be overlooked as the eye is drawn to admire the way colours have been used or blended; within a monochrome piece, the use of light and dark, whilst obviously presenting contrasts, tends to allow those subtleties to be gently teased to the fore.
Kultivate The Edge: Jamee Sandalwood
This is certainly the case with the majority of the images here, so much so that singling any out is a little unfair, however, I do admit to fining Jamee’s and Tempest’s pieces to particularly demonstrate this. The central image of Tempest’s trio for example, appears to have been pulled from the physical world; had it been in colour, there is a genuine possibility that even allowing for post-processing, its avatarian origins would be apparent.
The one exception to the general themes offered through this exhibition is from Johannes Huntsman. John is an artist who never fails to impress as he constantly seeks to broaden both his art and his technique. Here he presents four pieces that he has simply called his Geometric Collection, but which carry within them a strong vein of cubism with a measure of abstraction, making them an engaging selection which – and in difference to my comments above regarding the power of monochrome images – would be as engaging were they in colour; so much so, that I look forward to seeing more of John’s experiments in this style of art.
Kultivate The Edge: Johannes Huntsman
But really, all the artists in this ensemble deserve recognition for the pieces they have selected for this exhibition – as you’ll be able to see for yourself in the coming month, or indeed at the formal opening of the exhibition, which takes place at 13:00 SLT on Sunday, January 17th, within the gallery.
It’s taken me a while to get to write about Adventures In Mad Wonderland, Jayden Mercury’s twist on Charles Lutwidge Dodgson’s (aka Lewis Carroll) tales of Alice’s adventures. This is because, despite being a modest parcel covering just over 6,300 square metres, it is a setting that packs an awful lot into it – so much so that it is very easy to miss things in a simple walk through.
Using the theme of Alice’s adventures on which to build a setting within Second Life is not new; however, with Mad Wonderland, Jayden – assisted by Valarie Muffin Meow (Zalindah) – has created a unique take on things, as indicated by the location’s About Land description, which invites us to follow the Adventure through the Storybook of an artist.
Adventures In Mad Wonderland January 2021
Thus, what we have here is a take on Dodgson / Carroll’s timeless tale is a series of scenes from the tales – and more – that frame the tale of an artist – perhaps someone charged with illustrating a version of the story – with “chapters” waiting to be found at various points within the parcel (mouseover and left-click to read them).
The story commences at the landing point, and the artist’s studio that resides there. This takes the form of a small shack sitting on a narrow stretch of coast. Paintings are hanging on lines strung outside of the shack, whilst inside stands the artist’s easel and materials – although oddly, some of the latter appear to be paints for house decoration rather than conventional oil or water colours. Subtle use of a sofa with a cascade of colour in its covering and a corner gathering of lights adds to the impression that this is an artist’s retreat. There is more here as a well, so be prepared to mouseover the objects you find within the shack and be prepared to click on them.
Adventures In Mad Wonderland January 2021
The shack sets the tone for a visit: whilst walking the trail and exploring what it reveals, be sure to hover your mouse over anything that catches your eye, as it may contain the next chapter in the unfolding story of the artist. Such items vary in form, from a pen and notepad to the likes of multi-hued mushrooms – and some might be unexpected (“she said with a grin” – hint, hint!).
Also waiting to be found are obvious extracts from Alice’s journeys and other little vignettes. Chief among the former is a familiar tea party featuring a very Deppian Mad Hatter; one of the latter sits an an old piano, its wood faded by the Sun, a truncated quote from Alice In Wonderland chalked or painted onto the inside of its raised lid.
Adventures In Mad Wonderland January 2021
The end of the path is marked by wooden steps that rise to a white-walled castle that, with its angled towers, looks like something the Mad Hatter might build – or to look at it another way, a partially0inflated bouncy castle. Card guards outside of its gate suggest the Queen of Hearts may be waiting inside, as does the huge red heart on the wall above the gate. But is she? You’ll have to go inside and find out for yourself – particularly if you want to keep up with the unfolding story, as a chapter awaits discovery.
The castle may mark the end of the path from the artist’s studio – but it is not the end of the adventure. Those willing to look around carefully after exploring it might spot a little makeshift bridge leading to a shaded portal. Touch it, and it will carry you onward to the next stage of the story: a maze where more items await the touch of visitors, including one that will carry you even further, should you follow the familiar instruction to Drink Me when you find it.
Adventures In Mad Wonderland January 2021
I’m not going to give away all of the location’s secrets, but I will say that Mad Wonderland is a surprising and fun place to explore that taxes neither viewer nor mind, but does keep you engaged throughout. It is also one of those places I particularly appreciate within Second Life – the kind that demonstrate that you don’t actually need a full-sized region in order to create something special either for yourself, or to share with others.
Melusina Parkin opened her latest exhibition in Second Life Life on Thursday, January 14th at the Kondor Art Centre’s White Gallery.
Lockdown and Hope is a highly topical selection of art by Melu that takes as a part of its theme – as the name implies – something that remains on a lot of people’s minds as we roll on into 2021: the situation around the continuing threat of the SARS-CoV-2 virus / COVID-19, and the continuing grind, for so many of us, of being in a lockdown situation that brings limited opportunities to get out, interact with others or do the things we really want to do.
Melusina Parkin: Hope (v) 4 and Hope (v) 5
However, rather than focus just on the negative, Lockdown and Hope also looks to the future and the time beyond the shadow of the virus, when we can all resume largely “normal” lives with their attendant freedoms and activities as the various vaccines spread amongst populations, allowing us to, if not eradicate COVID-19 entirely, then at least bring it under control and diminish it’s threat.
On the surface, this is an exhibition of two halves: on the lower floor are 18 images that carry the title “Lockdown”, and very much focus on the impositions that have been placed on us as a result of the pandemic situation. Their dominant themes intertwine feelings loneliness, listlessness, boredom, the need for escape, and / or being cut off from the world. These are presented in Melu’s captivating style of focusing down on just a portion of a scene. It’s a technique I’ve long admired, simply because captured in this way, her images offer the opening lines of a story, leaving our minds to tell the rest based on the title of the exhibition and the point of focus in the image.
Melusina Parkin: Lockdown (v) 3 and Lockdown (v) 4
Take Lockdown (v) 16, as an example (seen in the foreground at the top of this piece). With its focus on the handle of a door, and the shadow on a distant wall cast by the light falling through a window, we’re given an image that clearly speaks to being shut-in. The door, so long a means of keeping others out so we can enjoy our own company, now a barrier to our ability to go out, the door handle caught in sunlight now a forbidden thing, the patterned shadow of an unseen window the calling of a world currently beyond our reach.
On the upper floor is a further set of 18 images that express the idea of Hope: that those freedoms we are temporarily without will return; that we will once again be able travel, to share, to appreciate nature, to enjoy a vacation on some remote shore and or enjoy the simple pleasures of walks along the coast or country roads. In contrast to those on the lower floor, these are offered as more expansive images – open spaces, broad skies, distant horizons – all of which are emblematic of freedom and the ability to roam where we will, and partake of all that life has to offer.
Melusina Parkin: Hope (v) 13 and Hope (v) 14
But there is more here as well; within many of the images on the lower floor offer not only representations of the isolation of lockdown, but also a glimmer of hope for the future. Again, to take Lockdown (v) 16. Whilst standing as a symbol of the need for us to stay isolated from those beyond our immediate bubble (if indeed, we have a bubble), it also offers hope: the very fact that sunlight is falling on the door handle suggests that the day will come when we can again open our doors to others and invite them in without fear, or pass through the door into the world beyond that is promised in the shadow falling on the wall beyond the door; indeed, the very fact that the door stands ajar suggests that time might actually be not that far away.
Elsewhere, Lockdown (v) 9 offers us a view of again being cut off from the things we would normally take for granted – cars parked outside the window with their promise of taking us anywhere we might desire, but for now beyond our reach. However, it also reminds us that despite all the impositions of lockdown, the cars are still there, waiting, and one day we’ll be free to travel wherever we would. Meanwhile,
Melusina Parkin: Lockdown (v) 8 and Lockdown (v) 9
This double focus can also be found in several of the images upstairs. Take Hope (v) 13 and Hope (v) 14 for example. Both offer use the promise of freedoms to be joyed – whilst the presence of the fences, open as one is and as relatively unobtrusive as the other might be in allowing us to see the sky, reminds us that the freedoms we’ll soon resume are not quite here yet, and restraint of action is still required.
From gowns cast across furniture out of possible frustration at being unable to wear them in public to the promise that nights out will yet return (Lockdown (v) 10) to a look towards a time when walks along sandy shores or country roads will again be ours to enjoy, but which is not yet upon us – hence the empty chair and bench Hope (v) 12 and Hope (v) 15); and with tales of separation and togetherness bound within the simple framing of a teapot, cups, decorative hearts and the placement of two chairs (Lockdown (v) 4). All 36 images within Lockdown and Hope have a richness of narrative, marking this as another extraordinary and engaging exhibition from Melusina Parkin.
For those who feel they’d like to escape all the continuing stresses of the physical world, but who don’t particularly want to spent time exploring and wandering, preferring instead to sit and chat or cuddle (or both), then artist Terrygold might have the answer.
Osta Nimosa is a quarter-region parcel sitting within a Full region utilising the private island LI bonus. Best known for her work as an artist – one whose work I’ve appreciated and long enjoyed writing about, here she presents a landscaped environment. Set out as an artificial archipelago sitting over sandy waters, it is bordered on two sides by open water, while the other two are denoted by a shallow ribbon of grass and sand that sits between the shallows and high cliffs.
Osta Nimosa – January 2021
Presented under the Solo Arte banner, the setting extends out over the water in a checker board of little square and rectangular islands, with more to be found in the sky overhead, including the Solo Arte Castle, sitting within a snowy setting at the time of my visit and which includes a table games room for those who fancy a little challenge.
The main landing point for the setting can be found on the ribbon of beach and grass, sitting alongside information boards and the teleport signs that link to all of the locations within the parcel.
Osta Nimosa – January 2021
The islands are reached can be reached in one of two ways: by taking the a canoe from the pier on the waterside of the landing point or by wading through the water and with the wooden steps that are provided with each island (flight is deactivated in the parcel, so I’m excluding this as an option).
Whilst regular in shape, these islands are anything but identical. Some are set as garden spaces, others as little corners in which to sit – such as having you own little bench where you can watch the Moon in a most unique way. Others are home to buildings of some description, each of which also has its unique characteristics.
Osta Nimosa – January 2021
For example, there is the Mr. Wolf bar – also one of the teleport destinations – which may not quite offer what you might expect from a bar; whilst the houses themselves offer the most unusual – and delightful settings within them. Furnished homes they most certainly are not, but they are charming / romantic (depending on which you access). There’s also a camp site watched over by cormorants, and another island offering a musical haven whilst one gives people the chance for a quite picnic.
Osta Nimosa – January 2021
There’s a lot of detail to be found here – as may have already been guessed from my comments above. There’s the cats that bring a little life to the outdoor café, the boats that offer further places to sit and cuddle a board walk garden and a little coastal camp site, all waiting to be found.
All of this adds up to a charming location for a visit and in which to spend time, one that works under a range of spring / summer environment settings, and which shouldn’t be missed by anyone who – at the risk of repeating myself- wants to escape the stresses of the physical world, or who wishes to have a little quiet time with their loved one(s) or friends.
Inara Pey: Living in a Modemworld 