The Isle of Elar, December 2020; click any image for full size
Second Life blogger and photographer Rig Torok led me to Shayn Mackenzie’s Full region, The Isle of Elar, for what will be one of my last region visits for 2020.
With life being what it is right now thanks to the SARS-CoV-2 pandemic refusing to to leave us alone and limiting opportunities for physical world interactions and getting out and about, coupled with various personal matters that have left me feeling I could do with time in the outdoors, wandering unknown paths under boughs heavy with leaves, The Isle of Elar proved to be just the ticket.
The Isle of Elar, December 2020
Rugged and split by streams fed by waterfalls, with rocky plateaus, shingle and sandy beaches, woodland trails and open spaces, cabins and ruins, deer and rabbits – and even a dragon awaiting discovery – the region genuinely offers something for everyone to appreciate – blogger, photographer, explorer or someone looking for a little space and / or peace a quiet.
From the landing point on the north side of the region, a path cuts its way south, apparently heading directly to the southern coast of the region before peeling off to cross the two streams via wooden footbridges. It presents the most direct means to start any exploration of the region, and a horse rezzer just off of the track presents a means of transportation for those who prefer exploring without necessarily relying on the use of their own pedal extremities.
The Isle of Elar, December 2020
However, it is not the only path to take; others are awaiting discovery, winding their way to numerous places of interest, be it old chapel ruins among the trees or a farm shop with camp site or garden chair overlooking the ocean, a greenhouse overlooking the main trail, a walled garden, and steps and an elevator that wind and lead their way up the rocky highlands of the region. All of these, and more besides, await visitors.
This is a place rich a detail, obvious and subtle. Some of the more obvious I’ve noted above. The more subtle include a little faerie garden, complete with magical ring, sings of various kinds awaiting discovery, a highland bench watched over by a friendly weasel, a raft in a little cove, rabbits enjoying the peace of the old chapel and the aforementioned dragon. All of this is supported by a fitting sound scape that encourages relaxation when making use one of the many places to sit waiting to be found throughout the setting.
The Isle of Elar, December 2020
The wealth of detail available within the region makes it easy to lose oneself during a visit, the sound scape encouraging cares and concerns to slip away, or to reminisce – hence the Still Memories part of the region’s name – whilst bringing to life the promise of its About Land description:
Elar is a woodland themed region depicting natural beauty all around you, Here you can explore, be romantic, spend time with friends, or take creative photos.
The Isle of Elar, December 2020
Whether wandering alone or with a loved one, The Isle of Elar makes for an ideal destination, and visitors who take photos are invited to share them via the region’s Flickr group.
The University of Western Australia has been a long-term patron of the arts in Second Life
The end of 2020 marks the end of an era in Second Life, as we will be saying farewell to the in-world presence of the University of Western Australia, as their last remaining active region is due to close.
Between 2009 and 2018, the University’s name was synonymous with patronage of the arts in Second Life, sponsoring as it did numerous Art Challenges with large-scale cash prizes on offer to participating artists. In the process these challenges yielded some of the most exceptional displays of art and creativity seen within – and beyond – Second Life. Art that I had both the privilege and the honour to both cover in these pages, and to help adjudicate as an invited judge for several of the challenges, allowing me to witness an appreciate first-hand the depth of creativity they seeded and nurtured.
UWA: Gratitude – Suzanne GravesBy way of a last farewell and to offer a “thank you” to the UWA for its support of the arts down the years, the arts platform over the region is currently home to a special exhibition of 2D and 3D art.
Entitled Gratitudes, the exhibition has been organised by Chuck Clip, who issued an invitation for artists to contributed 2D and 3D pieces back in September (see: Calling artists: an exhibition to say farewell to the UWA in Second Life). The result is a exhibition that includes news pieces created specifically for inclusion in it, as well a pieces that have been past UWA Grand Challenge winners – such as Sharni Azalee’s evocative Never Say Never, a Grand Prize winner back in 2014.
UWA: Gratitude – Elle Thorkveld
The art is displayed on the sky platform over the UWA campus grounds in the region, and is framed by a collection of posters marking some of the art challenges organised by UWA under the stewardship of Jayjay Zifanwee and UWA in SL curator Freewee Ling.
Artists who responded to the open invitation to participate in the event include Sharnee Azalee, Chic Aeon, Suzanne Graves, Pixels Sideways, Merranda Ginssberg, Vroum Short, Ciottolina Zue, Cherry Manga, Alpha Auer, Sheba Blitz, Kayly Iali, Judylynn India, Monroe Snook and Chuck Clip himself, among numerous others. All of whom present s rich mix of 2D and 3D art to be appreciated and admired. Further 3D art selected by Jayjay can be found within the ground level of the university in what is very much a 3D art garden.
UWA: Gratitude – 2D art
All told, Gratitude presents a rich cross-section of art and creativity, and is well worth taking the time to visit and appreciate. It will remain open until the end of December 30th, 2020.
Andante is the name Jules Catlyn and Iris Okiddo (IrisSweet) have given to their cosy gallery, located in is own gardens alongside, but quite separate to, Jules’ car business of [Surplus motors].
I have to confess that this is a gallery I’ve somehow managed to miss until now, which is a shame as it is very charmingly appointed within its grounds.It comprises the Apple Fall Country Hall (a place that, coincidentally, we have set for one of our own home designs). It’s a versatile build, and here has been “twinned” with itself to provide two large exhibition spaces with an interlinking open-air courtyard.
The garden offers art of its own in the form of sculptures by Mistero Hifeng, the ground around the gallery richly flowered in a manner that is inviting and encourages a sense of warmth and of taking thing slowly in the manner of the gallery’s name.
Andante Gallery: Charlie Namiboo, December 2020
Exhibitions apparently open here every 5-6 weeks, although at the time of our visit, the current exhibition was into its 10th week. Not that I’m complaining; the guest artist is Charlie Namiboo, and her work is always a delight to see – but just keep in mind that as it has been around for a while, the gallery could be changing artists fairly soon.
Don’t Judge Me is a series of images by Charlie predominantly focused on avatar studies, with a handful of landscapes to break the mould.
Offered in both colour and black and white, the avatar studies present thoughts and feeling on life and relationships that are genuinely emotive. they are mixed with self-studies that while posed, can oft appear as candid, spur-of-the-moment snaps that give them their own unique depth. The landscape pieces, meanwhile reveal Charlie’s ability to both capture a scene and render it as a piece of art guaranteed to capture the eye and and found myself particularly drawn into Wildness is the preservation of the world.
Andante Gallery: Charlie Namiboo, December 2020
As noted, I don’t know how much longer Charlie’s work will be on display at Andante, but I would recommend hopping over sooner rather than later in order to see it – contrary to the exhibit’s title, these are pieces worthy of our judgement in that they are all very much pieces worthy of viewing and appreciation. As to Andante Gallery itself, it’s now on my list, and I hope to be returning in the new year to see who else Jules and Iris invite to exhibit there.
The Dickens Project: Invitational Art Show – CybleMoon and Silas Merlin
The Dickens Project 2020 Edition enters Christmas week with two art exhibitions for visitors to appreciate. Each is located in a different part of the Project’s Victorian townscape, offering those who visit the opportunity to explore the streets and discover more of what the Project has to offer this year.
Located in the church sitting to one side of Dickens Square, the Project’s main landing point, is the Open Art Exhibition, featuring artists who accepted the Project’s invitation to display one or two pieces of art that have created on a Victorian Christmas / Dickensian theme.
The Dickens Project: Open Art Show – VanessaJane68 and Jezzamine2108
In all, seven artists responded to the invitation, and between them they offer an engaging series of images on the themes. The artists are: Jessamine2108, VanessaJane66, Stevie Morane Basevi, Dawn Greymyst, Banshee Heartsong, Evelyn Held and Vita Theas.
Together their images capture the spirit of The Dickens Project Past (e.g. Evelyn Held: A View From Dickens Harbour Lighthouse, Jessamine2108: Dickens Harbour), images with a decidedly Victorian feel (VanessaJane68 with Christmas Hall and Tower Lane; Dawn Greymyst: Holiday Preparation), and others with a clear Dickens influence (e.g. Vita Theas: Kids, Evelyn Held, Magic of Christmas Past).
The Dickens Project: The open Art Show – Evelyn Held
All of the pieces are evocative of the period they represent and the Dickens Project theme.
Off to the east side of the town, and between the clock tower and the harbour, sits a warehouse that is home to the Invitational Art Show. Open since the event started (the Open Art exhibition having opened its doors on Friday, December 18th), the participating artists for this exhibition comprise CyebelMoon, Iris Okiddo, Silas Merlin and … Yours Truly. Again, the overarching theme is of reflecting, Dickens, Victorian England and the Dickens project.
The Dickens Project: Invitational Art Show – CybeleMoon
Both Cybele and Iris offer evocative (as always!) pieces, that richly reflect these themes. Within Cybele’s pieces, entitled Winter Solitudes are a set of marvellous captures of past Dickens Project scenes, beautifully processed such that each encompasses its own story that captures both the romance of Victorian Christmases, and the settings found through The Dickens Project.
Iris, meanwhile, presents her own take on A Christmas Carol, presenting eight images in which she takes on the role of Ebeniris Scrooge and offers her interpretation of some of the damous scenes from the story. Thus we see her sitting miserly in her cold house, walking with the Ghost of Christmas Present, revisiting her lonely past, glimpsing a possible future, embracing a happier, brighter future (with, I think I’m correct in saying, Skippy Beresford getting a co-starring role), and more; all of the images again richly presented for our enjoyment.
The Dickens Project: Invitational Art Show – Iris Okiddo
Silas offers sculptures both indirectly and directly connected to the Victorian / Dickensian era, including barefooted street urchins, Oliver Twist, and a bust of Charles Babbage. For my part, I’ve offered a series looking back over The Dickens Project builds between 2015 and 2020.
Two engaging exhibitions in a setting that offers much to see and do – see my preview of this year’s Edition of the Project for more on the event.
The Dickens Project: Invitational Arts show – Silas Merlin
Links and SLurls
Note that The Dickens Project regions are rated Moderate. Note that SLurls will be available for use from 07:00 SLT on Friday, December 4th.
Sitting within a homestead region deep in snow, lays Snoweeta, a charming winter build that is engaging in its simplicity of presentation. Designed by Kaja Ashland, it offers people a little hint of Sweden, specifically taking as its inspiration the southern most county (or län) of Skåne; a place that is a relatively new county within Sweden, having been formed in 1997 – although it is named for the much older historical province of Skåne, from which it takes its coat of arms.
Whether or not Kaja has based the setting on an actual location within Skåne is open to her to tell. However, while it appears to sit on the road linking the small Baltic townships of Ystad and Simrishamn, it is perhaps not where this snowbound setting might actually be that is important, but rather the stories waiting to be found beneath the pale evening sky.
Snoweeta, December 2020
Central to these tales is the farm house sitting at the end of the long drive leading away from the road, the lane forming the region’s landing point. Lit from within, the house offers a sense of warmth and welcome, with the dining table set for dinner – but is it a family dinner, or are visitors anticipated for a gathering of friends? And who uses the garage alongside the main house, converted as it is into a cosy snug, warmed by a log stove? Is it a little work space for readying plants for the garden when spring arrives, or a teenager’s place to get away from Mum and Dad for a while?
Beyond the house are more vignettes around which stories might be woven: just how did the tractor, a vehicle designed for operating over rough ground and muddy fields come to be bogged down whilst returning to the farm? And who is responsible for the boars gathered under the false shelter of the bare tree caught in its own little snowstorm? Are they a part of the farm or wild residents of the area?
Snoweeta, December 2020
Those who prefer not to contemplate such question can instead snuggle up on the benches in the farm’s garden or inside the house or the cosy garage. Or, if preferred, a walk can be taken over the snowy field to where a low hill offers a retreat for trees within the farmlands, its top crowned by a little camp site. Here, a boiling kettle suspended over the flames of a fire, invites people to stop awhile and sup, while down the far slope of the hill is a frozen pond, prompting questions of skating and outdoor fun – although I wouldn’t recommend trying; the pond is beyond the edge of the region.
How far this place might be from either Ystad or Simrishamn is unclear, but the presence of a police car parked on the road’s shoulder (again, beyond the region’s edge) leaves one wondering what has happened to attract the attention of law enforcement – and whether the occupants of the patrol car are sitting in its relative warmth awaiting the arrival of Henning Mankell’s dour-faced Inspector Kurt Wallander, who might yet be driving his Volvo down the road from Ystad, where he both lives and works.
Snoweeta, December 2020
Simple and attractive in its design, Snoweeta offers an attractively different winter-themed visit.
Milena Carbone (Mylena1992) has opened a new exhibition at Noir’Wen City. Entitled Lux Æterna, it encompasses themes in consideration of religion, humanity and personal belief; elements that are not new to Milena’s work, but are here presented somewhat differently, being projected largely through the work of others, notably Second Life artist Norton Lykin.
Through the exhibition Lux Æterna, I want to express this paradox which is at the heart of my deviant faith in an imperfect God. Our perception of light covers a ridiculously narrow spectrum, and yet this handicap allows us to contemplate incredible beauty. The human species represents a miserable, ignorant, fateful, devastating vermin, trapped in a thin layer of gas on a tiny planet, and yet we have been given the privilege to see, to feel what is. If there is an intention in the universe, this intention is totally indifferent to our fate, and has given us this gift with infinite generosity.
– Milena Carbone
Lux Æterna, “eternal light”, in terms of its religious use, is perhaps most familiar for being a part of the Catholic Requiem Mass, although – and as Milena notes, it most likely dates to Gregorian times. It is a call to God to let his eternal light shine upon the departed as they rest with his saints.
Milena Corbone: Lux Æterna – image by Norton Lykin
Here, the the idea of eternal light is used both physically and metaphorically. As Milena notes, the light humans can see is limited to an incredibly narrow spectrum; one that, long before we discovered the non-visible (to our own eyes) wavelengths on either side of it, nevertheless allowed humanity to contemplate so much, achieve so much through creativity on both an individual and collective basis, and to perceive the richness and beauty of not only our own planet, but the incredible cosmos around us. Yet, at the same time – and even with our going understanding of the non-visible spectrum this promises to reveal even more to us – humankind so often opted (and still opts) to walk the path of ignorance, even whilst espousing enlightenment.
Metaphorically, this narrow spectrum light through which we perceive everything could be said to reflect our narrowness of understanding of any supreme being that might exist. For so long, we constrained “god” in terms of our own viewpoint – one that, far from putting the almighty at the centre of things, has actually placed mankind so that everything – even the idea of a supreme being – literally and figuratively revolved around us, in what can only be viewed as a arrogant outlook on the cosmos.
And herein lies the first paradox: for just as the cosmos is vast – and made more so as we finally drew back the curtain on those parts of the spectrum we cannot visibly see -and with wonders yet to be understood, so to must any supernatural consciousness behind it be vast. Thus, could it even be aware of humanity, as we sit huddled under the protection of our backwater planet’s thin envelope of atmosphere? And so we enter into Milena’s realm of pondering the nature of God; whom she sees as not no so much capricious for allowing all the woes that can befall us, as some might argue – but simply indifferent and / or imperfect, simply because they have far too much to do in just keeping the rest of the cosmos going to pay us that much attention.
These ideas are bound together through Milena’s exhibition in a number of ways. As she notes herself, Norton’s art, in its abstracted beauty, informs us about the two greatest elements within the cosmos: emptiness and light. Both are enduring and unalterable; we can see the light of the stars and nebulae, of novae and supernovae, and of galaxies beyond our own, visual cues to the vastness of the universe in which we sit, whilst the distances separating them appear largely devoid of anything we can perceive, forming an huge and everlasting void around us. To this I would add that through the choice of colours found in the majority of the pieces – the reds, purples, oranges, blues and yellows – we are reminded of the spectrum of light that extends beyond either end of the visible, and thus of the unseen grandeur this sits within the cosmos, and which may yet be found within the the emptiness that sits between the lights of the stars and the galaxies.
And this is only scratching the surface of what is an incredibly simple installation in terms of design and presentation which folds within itself so much food for thought by way of metaphor and suggestion.within the design, for example, is a subtle blending of eastern philosophy and Christian religion: the installation stands as three arms, intentionally representative of the Christian trinity, whiles the empty space at its centre representing the eastern ideal of centring, chakras, inner peace and the natural flow of energy. Elsewhere the the rising stairs might be seen as metaphors for ascendency, an ideal common to both eastern philosophy and “western” religions, if interpreted somewhat differently by both.
Milena Corbone: Lux Æterna – images by Norton Lykin
Through all of this, Lux Æterna also serves to touch on two subjects that can never be far from thinking when contemplating life, the universe and everything (notably religious themes and similar): those of death and immortality. These are concepts that can be said to be uniquely human, as Milena underlines through her use of extracts from Jorge Lui Borges’s The Immortals. Unique because – as Borge himself notes, we are the only creature on Earth with an awareness of death and by extension, contemplate immortality. So animals might be said to be “immortal”, simply because they do not share this awareness or live in that ever-present terrible shadow, and as such, they might be said to be “closer to god” than we can ever aspire (and thus the hare-headed figure standing God-like over the scene).
And yet still, there is that eternal light of the cosmos surrounding us and reminding us of the richness and of everything; a light we cannot help – and indeed always should – contemplate in humility and reverence, simply because of the beauty it enfolds, and the encouragement it gives for us all to expand our thinking beyond the petty.
Inara Pey: Living in a Modemworld 