Bunkers are Us: contemplations on isolation in Second Life

Itakos Project: Kaiju Kohime Bunkers are Us

Now open on the Green Pavilion 1 platform at Akim Alonzo’s Itakos Gallery, is Bunkers are Us, by Kaiju Kohime. A 3D installation, it is a reflection on modern life, that in part draws on the SARS-CoV-2 pandemic, but casts its net much wider.

All of us need shelter. It can be a house, a tent, a church. But the past few decades we have increasingly isolated ourselves from others in ever more fortified houses with increasing security and locks. Because of the the increasing amount of threats that are bestowed upon us, like wars, climate change, exponential population growth and fast spreading diseases we have become less confident in our fellow human beings. We have retreated behind concrete masks, concrete skins, concrete bunkers.
Our last shelter is our skin. We hide inside our skin. But not only are we fortifying our houses, are we not becoming bunkers ourselves as well?

– Kaiju Kohime

Itakos Project: Kaiju Kohime Bunkers are Us

On the platform is a reflection of the above description: three large concrete homes with gun-like slits for windows, together with two smaller bunkers and a cathedral, its original form shown in rusting outline, the building itself having shrunk within the framework as physical representation of the idea of withdrawal away from the world.

The houses contain within them various elements: violins, concrete blocks that might be books, flowers, ladders that climb nowhere… They are perhaps the things we take with us into our solitude in lieu of genuine company, and perhaps – in the case of the ladders and the female form – reminders of the freedoms and companionships we lose in so shutting ourselves off from others.

Projected onto the walls of the building are the words of Proposition 1 from the Tractatus Logico-Philosophicus by Austrian-British logic philosopher Ludwig Josef Johann Wittgenstein (if you do not see the words of the proposition, make sure you enable your viewer’s Advanced Lighting Model (ALM) via Preferences → Graphics). The only one of his works to be published in his lifetime, TLP, as it is often called, was an attempt to identify the relationship between language and reality and to define the limits of science, and is regarded as one of the more significant philosophical works of the twentieth century.

Itakos Project: Kaiju Kohime Bunkers are Us

Within this installation, the use of Proposition 1 would appear to be a direct challenge to the manner in which we are all increasingly self-isolating, an attempt to remind us that back contracting inwards, we limit ourselves, that the world is all that is, is becoming ever more finite thanks to our willingness to withdraw and the facts that help us interpret, understand, and live within that world are similarly become more finite, thus limiting our world view even further.

It is symbolism like this, found throughout Bunkers Are Us, that makes this installation provocative, be it through consideration of how our slide towards isolationism – which started well before SARS-CoV-2 reared its head -, or our mistrust of those around us that causes us to convert our houses into castles and has reduced churches from places that welcomed everyone to closed fortresses where only the known few are welcome; or through the manner in which it brings us into contact with Wittgenstein; or simply through the wonder of the mobile sculptures within the smaller bunkers.

With further subtle commentary in the form of the two Animesh figures located at the teleport station (echoes of simplier times when the world was our home?), Bunkers are Us is an installation that pokes at the conscience and grey matter.

Itakos Project: Kaiju Kohime Bunkers are Us

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ATL is rated Moderate

The climbs and caves of Mount Campion in Second Life

Mount Campion, July 2020

Mount Campion is the highest point on the Mainland of Second Life. Sitting on a high ridge of hills running along the north side of Heterocera, it is home to the Mount Campion National Forest, a series of high granite steps that reach almost to the mountain’s green peak.

As the name suggests, the rocky steps and plateaus are home to a rich forest of fir, cedar, maple, birch, beech and more, tall and short, all  casting their boughs over paths and trails that wind up and and down between their trunks and over the rocks, shaded from view above by the umbrellas of green held aloft by the trees.

Mount Campion, July 2020

Designed by Marz (Mar Scarmon), the forest is home to many secrets. Scattered through the woodlands, for example, are houses and cabins. Some stand at the side of the tracks that wind through the park, others within their own gardens, or with gardens close by; some appear as mountain cabins, others are more whimsical in form. All are picturesque when caught under the right light and from the right angle, and most sit at places where the paths through the forest may fork or reveal a new route through trees or between rocks or up to higher elevations or down to some below.

But the houses are not the park’s biggest attraction; that take the form of a series of tunnels and caverns that sit beneath the steps and plateaus of the park, awaiting discovery just behind the cliffs and rock faces.

Mount Campion, July 2020

There are many ways into – and out of – this network of tunnels and caverns. Some sit at the edge of the park’s paths or open unexpectedly onto them. Others lie at the end of trails that break away from the main paths that at first seem to just meander through the trees. Some even lie behind doors found at the bottom of gardens or within the cellars of houses.

It is only once you’re within the caves that you really appreciate how cleverly they have been put together. Using mesh kits and prims, Marz has built a convincing and consistent set of tunnels and caverns that rise and fall, divide and come together, run to dead ends or to walls that hide hidden turns and climbs up or down. Natural in form, many have the look of having been shaped by the passage water (and water can still be found in some). They are lit throughout by flickering torches, while sign posts – the same as those found along the trails outside – sometimes offer suggestions on directions to take whilst wandering through them.

Mount Campion, July 2020

Such is the design, just when you think you’ve seen all there is, something new pops-up, such as an unexpected opening that leads out to another part of the paths and tracks of the forest. Some of these can be surprising because they st close to another opening, but managed to pass notice whilst hopping in and out of that other tunnel. Others emerge from the network on a precipitous ledge that in turn reveals itself to be another path that clings to the vertical faces of the the mountain faces – paths that might otherwise be missed in a too-hurried walk around the park’s trails and paths.

And therein lies another part of the magic with this design: the paths wind and meander, rise and fall, drop through canyons, disappear into tunnels then reappear – but ultimately they all link together, offering multiple ways to explore the park and appreciate all of its many touches – the hidden paths, the statues, and so on, and also its features – gardens, houses, tunnels and caverns.  All of which makes for a rich and rewarding visit.

Mount Campion, July 2020

With thanks to Elora via Annie Brightstar

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Virtual Cities and an Awakening in Second Life

Third Eye Gallery: Michel Bechir

The Third Eye, curated by Jaz (Jessamine2108), is a new open-air gallery space that opened on July 11th, 2020. Located on a sky platform, the gallery is described as “a place that is designed to showcase art, particles, inspire stories, and offer a quiet place to relax and rejuvenate. It is the culmination of my many dreams – to create a place that nurtures and helps the growth of all types of creative endeavours – be it words, pictures, or particles.”

For the opening exhibition, the gallery features a selection of art by Jaz, entitled Awakening, coupled with Virtual Cities, a selection of pieces by Michel Bechir.

It is only right that I open the gallery with Michiel as the guest artist, as he was the one who introduced me to SL photography.

– Jaz (Jessamine2108)

Third Eye Gallery: Michel Bechir

For Virtual Cities, Michel presents some 18 pieces focused on urban living within Second Life. It’s a rich mix of images spread across Michel’s time as a Second Life photographer, starting in 2009 and extending to the present day. Within them, he captures the many different ways in which cities and living spaces can be represented in-world, from shining cities with gleaming skyscrapers to cities in decay, from Mediterranean waterfronts to the cramped confines of the favela, and from cobble streets to paved sidewalks.

Not only are the pieces here attractive for their breadth of representation of urban spaces, they also hold the eye because of the richness of style and finish they each have.

Third Eye Gallery: Jaz (Jessamine2108)

Sitting across the landing point from Virtual Cities, Jaz offers 21 pieces that see states are something of a departure for her.

The series “Awakening” is about my changing perception of SL – to the possibilities that it offers and to be able to see beyond the surface. I am stepping out of my comfort zone to communicate using the creations of designers rather than use landscapes and avatars. I would like to thank the mesh creators Harry Cover and Karthikeyan Engineer with their quirky and cool creations that helped me grow as an artist.

– Jaz (Jessamine2108)

This is an intriguing and engaging collection of images, rich with colour, each one perfectly framed to draw the eye into it. There are four pieces within this collection that might be called “traditional” landscapes – or at least focus on subjects Jaz has more familiarly covered. However, this doesn’t put them at odds with the rest of the pieces on display, rather it grounds them as a further expression of her art and growth.

Third Eye Gallery: Jaz (Jessamine2108)

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Elvion’s return to Second Life

Elvion, July 2020 – click any image for full size

Update: Elivon re-opened in August 2021 at a new, Full region location – see my review here. As such, the SLurl here has been modified to point to the new location.

When we first visited Elvion back in early 2019, we found it to be a magical ¼-Homstead parcel dressed as an elven retreat quite bewitching in its design and layout (see: Elvion: an elven sanctuary in Second Life). Later that year, Elvion relocated to take up an entire Homestead region, bringing with it a wholly new design that presented visitors with a setting beautifully suggestive of the open countryside of a national park, complete with distant mountains (see Elvion expands in Second Life).

Sadly, Elvion vanished from Second Life when its designer, Bo Zano (BoZanoNL) and his SL partner, Una Zano (UnaMayLi) opted to take a break from SL. However, Miro Collas, who first alerted me about Elvion back in 2019, prodded me via Twitter over the weekend to pass on the news that Bo and Una were both back in SL, and that Elvion would be opening anew on July 12th, 2020; so we scurried over to take a look.

Elvion, July 2020

The new landscape offers something of the look and feel of Elvion’s late 2019 design: there are the distant mountains / hills framing one side of the region, the low-lying grasslands cut by water, and familiar bridges that span said water. However, this is no reproduction of a previous design. There is a lot that is wholly unique to this iteration of Elvion that make it unique to itself and that carries with it a sense that rather than emulating a past build, this is in fact a continuation; that were we to follow the coastline far enough, or perhaps climb over the north-western mountains, we’d find ourselves once more looking out over Elvion’s past landscape.

This is also a place that offers a echo of Elvion’s more mystical elements. Tucked away behind a screen of giant oak and fir trees, for example, lie the overgrown ruins of a gigantic cathedral-like  structure (a clever kitbashing of Mark Inkpen’s Chapel Ruins, a long-time favourite of mine).

Elvion, July 2020

Rising from among the trees, this is a place where water drops from high on the walls, flooding its lower floor even as more water bursts from rocks at the base of one wall. These rocks may one have been part of the foundational stone on which the great building had been established, but they have been rudely thrust upwards by some cataclysmic event that perhaps brought about the structure’s ruin. For those who wade across the shallow flood waters, a set of steps lead up to where a fountain awaits, doves keeping watch on the stone benches alongside it.

Away from this mighty ruin, and across the low-lying grassland and the swift-flowing river flowing through it, lies a smaller ruin, this one of an old tower. It is reached via two wooden bridges that use a long, slender mid-stream island to span the fast-flowing waters. Fed by falls tumbling from the north-western highlands, the waters of the river have a crisp, cold look to them, as if they are largely melt water originating in the snows of the mountains, so the bridges are a welcome means of reaching across them.

Elvion, July 2020

The eastern bank of the river shares offers space to both the tower ruin (with the curio of an old barber’s chair sitting within it) and a small summer house converted into a cosy bedroom. The latter also has a little fenced garden close by, offering one of the regions many places to sit – another can be found just to the north of the old tower, where a bench swing hangs from a high bough.

It is around the summer house and old tower that the richness of Elvion’s wildlife can be particularly found, as deer graze amidst the lush grass, watched over by birds, and heron sit patiently on the rocky banks of the river, awaiting lunch in the form of a passing unwary fish. In addition, elk can be found on the island and close to the cathedral ruins, while geese circle overhead and seagulls ride the breeze over the region’s eastern bay.

Elvion, July 2020

The presence of the animals and birds again echo past Elvion designs whilst adding that attractive sense of depth we like to see in region designs. They also add a tweak of humour as well – keep an eye out for a couple of members of the Rat Pack and two of the Three Stooges who are hanging around the island (I understand the third Stooge and another member of the Rat Pack might get to be added!).

Finished with a rich sound scape, and with much more hidden away awaiting discovery (do keep an eye on the region’s coastline, as there are one or two little areas of peace and solitude tucked away!), Elvion once again presents a natural setting perfect for exploration (including via a wearable horse, if you have one) and for photography.

Elvion, July 2020

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Elvion (Tempted, rated Adult)

Kody Meyers at Raging Graphix in Second Life

Raging Graphix Gallery: Kody Meyers

Kody Meyers is a Second Life photographer who genuinelyneeds no introduction; his landscape and avatar studies are among the most recognisable at exhibitions across the grid. Nevertheless, it is always a pleasure to witness them on display, and just such an opportunity to do so can be found at Raging Bellls Raging Graphix Gallery.

Having opened in July 11th, the exhibition will run through the next 4 weeks, and presents some 20 pieces of Kody’s work which fully and richly demonstrate the broad approach he takes to his art.

Each picture depicts a story or is a reminder of an experience one can reflect upon when admiring it. As a perfectionist, I take the time necessary to capture the picture, experimenting with different angles, framings and windlights, until the perfect shot is created — the one that comes alive.

– Kody Meyers describing his work

Raging Graphix Gallery: Kody Meyers

The stories are brought to life not just through Kody’s technical approach to his work, but also through his eye for post-processing. In this, as he notes, he uses a variety of programmes and approaches that allow him to fully tell the story he finds within each image.

To try to describe the pictures in the selection offered in this exhibition would be a waste; each is a genuine work of art that deserves to be seen first-hand, and its story properly allowed to unfold as one witnesses both the complete picture and all of the many details Kody has captured within it and that stand as chapters – or at least lines – within the story.

So rather than me attempt to offer descriptions, do take the time to go as see for yourself – particularly if by some chance you’ve not previously seen Kody’s work. You won’t be disappointed.

Raging Graphix Gallery: Kody Meyers

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Enjoying Cica’s Summertime in Second Life

Cica Ghost: Summertime, July 2020

For July, Cica Ghost has offered her latest installation for people to enjoy. Summertime is a reminder that summer days can be, for all of us, “the best of what might be”, as her quote from Charles Bowden, the late American journalist, essayist and author, reminds us. It’s also a reminder that despite all the shadows cast by the current SARS-CoV-2 situation, happier, brighter, days will come along.

This is another quirky, light and fun installation with more to see than might initially meet the eye. At its core, it offers what might be a giant’s overgrown yard garden. Much of the ground forms a tiled surface that undulates slight, giving the impression of an aged, uneven terrace. Set upon this, and the grass beyond it, lay a series of planters of assorted shapes and sizes, from which sprout a variety of plants.

Cica Ghost: Summertime, July 2020

Tall willow-like trees watch over this landscape, whilst scattered flowers and grass grow free of the pots and planters – perhaps grazing for the cows that are also present here.

Standing or sitting alone or in pairs or small groups, the cattle are curious souls, their large eyes constantly roving over the land around them, seeing all that goes on. The set to the brows of some suggest they might not entirely welcome avatars traipsing over their grass and flowers, while others look more interested in one another than in any visitors passing by. All of them offer opportunities for photos to be taken in their company, that can be hard to ignore.  Nor are the only occupants of this land; representative of Cica’s cats and crows are also waiting to be found, while a unique coop provides a stacked home for snow-white chickens.

Cica Ghost: Summertime, July 2020

There’s more to see throughout the setting, as well. Some of the planters have the distinct look of houses or buildings about them – with one even the home of a little cinema – while others have the feel of being little hideaways. As with all of Cica’s installations, there are multiple places to sit, although one or two might require a little careful seeking – so be sure to carefully mouse-over planters and plants as well as simply looking for the chairs and garden benches. And if you’re not in the mood to walk, hop on to one of the seed carriers that are fluttering around the landscape and be scooted around.

A heart-lifting setting caught in the light of a late afternoon Sun, Summertime is another delightful visit, while those so taken by them, can obtain Cica’s cows from  the little store in the north-west corner of the region.

Cica Ghost: Summertime, July 2020

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