Therese Carfagno at Ani’s Gallery in Second Life

Ani’s Gallery: Therese Carfagno

Currently open on the upper floor of Ani’s Gallery is an untitled exhibition by Therese Carfagno that offers a intriguing mix of images and styles, and which runs through until early February.

I say “intriguing” because the art on offer spans everything from SL-focused photography – landscapes and those with something of an avatar-focus – to more sensual pieces that appear routed in the physical world, to more abstracted pieces mindful of Jackson Pollack and pieces that carry a strong surrealist element. All of which makes this a creatively diverse exhibition well worth taking the time to witness, one that also includes a hint of Second Life history.

Ani’s Gallery: Therese Carfagno

The latter is most noticeable in Sunrise, Midday, Sunset, Midnight, a four-panel image on the left wall of the the gallery space, relative to the top of the stairs. The four images in the piece show AM Radio’s The Far Away, now co-curated by Ziki Questi and Kinn Kinnaird, all of which appear to include AM himself (at least going by the top hat) as one of the two figures standing in the wheat field.

A further reminder of AM Radio can be found within the poster facing the top of the stairs, featuring as it does AM’s Mary Poppins outfit. Next to this are two pieces, Sita 1 and Sita 2 that are richly surreal in their presentation of their subject.

Ani’s Gallery: Therese Carfagno

The more sensual pieces appear to mix both physical world and SL studies that offer nudity without crossing the line into outright NSFW. Two sets of of abstract pieces are to be found, both amidst the more sensual pieces – nicely breaking them up – and with the SL-centric images. Three are predominantly monochrome in nature, three in colour. Together they form two sets that re almost triptych in nature, the images in each set following neatly from one to the next.

I’ve not previously witnessed Therese’s art prior to this exhibition, but on the strength of it, I will be looking out for more exhibition of her work.

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A Grey Magic Winter in Second Life

Grey Magic Winter, January 2020 – click any image for full size

Grey Magic is a full region designed by SL partners Kimmie Rayna and CHRlSTIANGREY that offers a mix of public spaces and private rentals. For those still feeling in the mood for winter scenes and snow, the region is currently dressed for the colder months, a blanket of snow covering most of it and the central pond / lake has a frozen surface which, going by the condition of the top of the ice, has seen use as a skating rink.

Grey Magic Winter, January 2020

The east side of the region, together with the central body of water, form the region’s public areas, with the east side laid out as a street from a small town, lined by small businesses and town houses.  Most of the buildings are empty, although at the times of my visit, one of the shops was functioning as an SL fashion store outlet and the pub offered indoor seating and an outdoor table games area.

Six rental properties lie to the north, west and south of the region, with the central body of water forming something of a buffer between the public streets and the private homes, with the houses closest to the town setting located far enough back from the roads to give them privacy. Entrances to them are clearly marked as private property to help avoid accidental trespass.

Grey Magic Winter, January 2020

The town and lake offer nicely photogenic settings – although I worried about a steam train and a tram occupying the same set of rails and, from their positions, only being able to head towards one another. However, given the distance separating them from one another, they both offer potential locations for photography.

While the lake is frozen over, I didn’t notice any ice skate vendors around the shore, but there are buckets of snowballs for those looking to have a friendly fight – and visitors can likelyalways use their own skates if they have them. For those who do, the hot chocolate bar alongside the lake offers the chance for a hot drink – and to listen to a very unusual round of Christmas songs from the nearby … umm … “carollers”  –  this is actually not to be missed (I still have their take on Frosty the Snowman hovering around in my head 🙂 ).

Grey Magic Winter, January 2020

Finished with a day / night cycle and matching sound scape, Grey Magic offers a balanced mix of public and private spaces (I understand that there is a waiting list for the houses, although one appeared to be vacant when I dropped in) with plenty of opportunities for photography as well as numerous places to sit. As such it makes for a pleasant, easy visit for SL explorers and photographers.

Grey Magic Winter, January 2020

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Moni’s Forbidden Fruit at Nitroglobus in Second Life

Nitroglobus Roof Gallery: Forbidden Fruit

Monique “Moni” Beebe makes a further return to Dido Haas’ Nitroglobus Roof Gallery to mark the start of the year, with her latest exhibition Forbidden Fruit.

Moni is one of the most sensuous, evocative artist and – given she is generally the subject of her own work – models in Second Life, somthing I’ve noted in the past, as such I’ve been looking forward to seeing her latest exhibition since Dido tipped me the wink that Moni would be making a further return to Nitroglobus. She has the ability to present studies that are rich in mood, sensuality, nuance, story and sexuality – the latter without relying on being blatant provocation.  Rather, they are genuine works of art that would be fully at home in any physical world gallery as they would in a virtual setting.

Nitroglobus Roof Gallery: Forbidden Fruit

This latter point is very much proven with the selection of work forming Forbidden Fruit, which marks something of a departure from Moni’s previous exhibitions at Nitroglobus – Hidden Faces , Sensuality, and Changing Moods – in that for some of the pieces here, Moni has found inspiration in the work of a another artist, as Dido explains:

Moni got inspired by a RL exhibition of famous Dutch photographer Erwin Olaf, which she visited last Spring in the Gemeente Museum The Hague. Especially the mood of the early series Squares and Chessmen by Mr Olaf you will notice are reflected in some of the images of this present exhibition.

Such is Moni’s compositional eye that she presents a unique perspective on Olaf’s work (take Stone as an example) which is far from derivative – but which would nevertheless be completely at home in an exhibition such as Chessmen.

Nitroglobus Roof Gallery: Forbidden Fruit

For me, the power of Moni’s work is her ability to offer a tale of sensuality through pose and / or focus on bodily curve without necessarily utilising exposing nudity or full facial expression (which is not to say nudity is not present in some of the pieces here). Take the titular Forbidden Fruit, for example. It carries a rich sensuality that evokes feelings of desire bordering on lust, heightened by the use of clothing and the hiding of Moni’s eyes under the wrap. This particular piece also highlights another maturing aspect of Moni’s work: her ability to layer narrative and images; in this case the pairing of a woman with prominently placed apples offers a suggestiveness of story that reaches all the way back to Eve, the apple and a certain serpent – and what form the knowledge may have taken.

There is also a richness of self about Moni’s work that I again find attractive perhaps more than other artists who produce images using their avatars as models; Moni offers subtle insights into her personality and nature – with the emphasis on subtle. This heightens the response to her work that can reach beyond examining any single image or selection of images, to tickle the desire to know her personally.

Nitroglobus Roof Gallery: Forbidden Fruit

Rounded-out with lounge, a sculpture by Kaiju Kohime that sits perfectly with Moni’s images, this is again a marvellous exhibition by an exceptionally talented artist and visualist.

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Exploring The Cold Rose in Second Life

The Cold Rose, January 2020 – click any image for full size

Designed by artist and blogger Oema and her SL partner Van Lopen, The Cold Rose is a public / residential homestead region that opened its doors at the start of 2020, and which we dropped into over the weekend whilst out exploring.

Nestled amongst a group of off-sim islands, and itself split into a number of rocky and low-lying isles, the region has the feel of being a small group of islands perhaps seated in the more northern latitudes, and a place caught between the passing cold of winter and the warmer times of spring. The About Land description states the region is “perfect for photographers and bloggers”, and there is certainly much that is photogenic about the setting. However, I’d suggest this is tempered somewhat by the five private properties also to be found within it.

The Cold Rose, January 2020

These five properties – a private residence for Oema and Van Lopen, occupying the top of the large island to the north-east, and four rental properties occupying the western islands of the group – take up the majority of the space within the region, being located in large parcels that once occupied, might be considered “off limits” to visitors to ensure the privacy of those occupying them. Indeed, the private residence is denoted by ban lines should visitors stray too close, while the rentals are equipped with security orbs that, when active, will presumably cover the entire parcel occupied by each house.

This tends to limit exploration to the islands to the south-east and east of the region, and the tracks skirting around those occupied by private houses. Even so, this still gives people a fair amount to do, and numerous opportunities for photography, with several nice little touches await discovery.

The Cold Rose, January 2020

The landing point sits on the low-lying south-eastern island that is almost a shale bar that has been built up over the passage of time such that it can keep itself above the coming and going of the tide – or perhaps it is all that remains of the low-lying land that once connected the islands one to another. It is here that details of the rental properties can be found, with one of them visible just across the water on what amounts to the “middle” island of the group.

A simple plank bridge links the landing point with another low-lying island to the north, a place home to horses, a couple of them Animesh and suitable for sitting (if not, at the time of our visit, riding). Beyond this, things get a little more physical for explorers – the route to the northern island is via rope slide, with a second connecting it with the western islands. As noted, the north island is topped by a private residence, so on crossing to it via the rope slide, it is best to turn right and follow the track around the base of the hill and the island’s north side to reach the second rope slide and the western islands.

The Cold Rose, January 2020

Of the rental properties, three are clearly marked by gates / gateways that lie to one side or across the paths that run through and around the islands, making them easy to identify. At the time of our visit none were occupied, so wandering their parcels wasn’t an issue. However, this might not always be the case, so please check ahead and be respectful of privacy. The remaining rental sits at the southern end of the “middle” island, and rather than being reached by track, it has a bridge reaching out to it from the western isle, the end of which might best be considered denoting the start of private property.

Set under a moody sky by default, and rounded-out by a gentle soundscape, The Cold Rose includes several places for visitors to sit and could present those seeking a private home in SL with a picturesque, quite environment they might enjoy.

The Cold Rose, January 2020

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Art Made in Second Life: FionaFei’s fabulous shuǐmò

Fiona’s Reflection, as featured in Art Made in Second Life

FionaFei is a relative newcomer to Second Life and its art world, but she is someone who has made an enormous impression on those who have witnessed her art. I’ve personally had the delight in discovering it, and in writing about it on two occasions (see: Captivated by FionaFei’s art in Second Life (May 2019) and FionaFei’s shuǐmò Reflection in Second Life from November 2019).

As such, it was a joy to see that Fiona and her work are the subject of the first video (embedded below) in the Second Life series Art Made in Second Life (itself a further branching of the Made In Second Life video collection).

FionaFei (via Art Made in Second Life)

Fiona specialises in reproducing shuǐmò ink wash painting as 3D sculptures and setting within her appropriately-named Shui Mo gallery space in Second Life.

Also called shuǐmòhuà (suiboku-ga in Japanese) shuǐmò, uses different concentrations of black ink to create an image. Found throughout East Asia, it first emerged in Tang dynasty China (618–907), before spreading to Japan (14th century), Korea and to India. Beside the use of black ink in place of colours, it is also marked by the emphasis of the brushwork being on the perceived spirit or essence of the subject, rather than directly imitating its appearance.

Through her installations, Fiona marvellously brings the entire essence of shuǐmò to virtual life. In doing so, she allows the spirit of this ancient art form directly inhabit us, by making our avatars part of her work by virtue of our presence within it, whether we participate through direct interaction (as with the umbrellas in the “foyer” area that sits between the pieces referenced in the video (Reflection and Rising) or through our entry into, and exploration of, Reflection itself.

Within pieces like Reflection and Umbrella Landscape, and before them Wo Men Dakai (about which I wrote in Captivated by FionaFei’s art in Second Life), Fiona offers a combined celebration of this ancient form of art, a means of reflecting on her heritage, and an opportunity to present her own philosophy on life, as she notes both through the video and in her own writings.

As a Chinese American who immigrated from China at a young age, I created the Shui Mo series as a way of connecting with my ancestry and celebrate centuries of art from old masters who painted using traditional Chinese ink brush style….

…I see life and my journey as a painting. It can be forever an evolving piece … At any given time, you think you’ve reached the end of it, but you can always add to it, layer it, and change it. In a sense, each brush stroke is like a footprint.

– Fiona discussing her art and her world view

Three of Fiona’s traditional Chinese scroll painting – which are actually 3D sculptures, the centre on animated

What is particularly attractive about this short video (running to just under 2 minutes) is the manner in which it reflects the emphasis of shuǐmò. Rather than dwelling at length upon Fiona’s art, or presenting an in-depth look at her life and how she came to Second Life, it provides broader – dare I say  – brush strokes of both. Thus, and like shuǐmò, it captures the spirit of her work and presence hear, rather than more directly presenting the appearance of both, leaving us with the opportunity to discover more by visiting Shui Mo and Fiona’s Flickr gallery.

For my part, I cannot emphasise the sheet beauty and alluring appeal and depth to Fiona’s work, and urge anyone who has yet to witness it to both watch the video and take the time to visit her gallery in-world and fully immerse themselves in her art and vision.

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The hills and waters of a Lost Lagoon in Second Life

Lost Lagoon, January 2020 – click any image for full size

We last visited Lost Lagoon in July 2019, drawn to it by a bewitching description of a lost south seas island, and held captive by its rich design and looks (see:  A Lost Lagoon in Second Life). We were drawn back to it after hearing whispers that it has been redesigned to offer a new outlook for visitors; and I’m pleased to say the new look to the region is every bit as a attractive as it had been in July 2019.

The work of knight676 and Jana Guyot, Lost Lagoon has moved on from the look and feel of a south sea island to present a “lonely swamp Island. Witnesses of bygone days and paradise for those who seek solitude and nature.” As such, it presents a haunting landscape, split between low wetlands and higher peaks; a place where time perhaps hasn’t been overly kind to the buildings scattered across it- but where warm and comfortable welcomes can still be found.

Lost Lagoon, January 2020

The landing point is located in the south-east corner of the region, sitting on a deck over the water that has all the looks of a ferry stop. It affords a fine look across the rest of the region, with its lowlands to the south and east, the land rising to the north and west.

The terminal-like building is connected to the rest of the region via a raised wooden walkway. From here, visitors are free to wander as they please. Directly north along the coast is a place where the first of those warm and comfortable greetings I mentioned can be found. It is here that a large deck space and summer house has been erected, offering plenty of space to sit and pass the time, enjoy a drink or fuss the cats and dogs.

Lost Lagoon, January 2020

West and south of this the lowlands are cut by a broad bay watched over by a tall windmill and two more wooden huts, each of which offer cosy cuddle points for visitors to enjoy, while a small sandy area on the inland side of the bay offers an alternative sitting / resting point, marked by the wreck of a crashed ‘plane. Beyond this, the land becomes more marshy, the water choked with reeds and grasses, wooden walkways crossing them to provide access to sandbars and running past old buildings that have fallen victim to the sinking land – or the rising water level.

The marshlands are fed by water falling from the region’s highlands. These are homes to points of interest At first, the way up to them would appear to the by following the gassy slopes as they rise on the east side of the region.

Lost Lagoon, January 2020

But while there is indeed a path up through the greener hills that leads to a small folly nestled on their shoulder, it is best reached by going inland from the landing point and picking up the broad track the winds into the hills from alongside the old shack at the back of the bay. The path up to the folly branches directly from this track, which continues onwards, passing via a rocky arch and board walk to reach a northern headland, home to an eye-catching setting of its own.

Further to the west, where a toe of the hills pokes out towards the bay, carrying the shallow cut of a stream on its back, steps and second path can be found, offering a route by wooden stairs and platforms to the upper reaches of the hills. Gated and going via a single finger of rock, this path eventually arrives at what might appear to be a disused observatory but which is in fact a bath house. This again offers a warm welcome to visitors, complete with an old piano and stuffed armchairs.

Lost Lagoon, January 2020

There are a few issues in the region – places where plant physics should perhaps be disabled or the plants made phantom, performance can be a little uneven if there are a lot of other avatars in the region and I personally the default windlight a little dour. But these don’t interfere with the fact that this iteration of Lost Lagoon is as eye-catching and highly photogenic as the build we visited in July 2019.

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