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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The Phoenix Artists Collaboration in Second Life

The Phoenix Artists Collaboration: Vroum Short

Officially opening on Wednesday, January 8th, 2020, is a new ensemble exhibition at The Phoenix Artists Collaboration (PAC), featuring individual art displays by some 42 artists – making it quite the stop for any lovers of art from both the physical world and the virtual, with the exhibition area offering additional spaces for exhibitions and events.

We share a simple dream and goal, to support and display artists work, so they may flourish and encourage others to do the same, Along this path we hope to make life long friends that form a collaboration to support each other and encourage us all to be the best we can.

– from the Phoenix Artists Collaboration group description

The Phoenix Artists Collaboration: Flamered

Those participating in the exhibition are: Dhyzel, Flamered, Giselleseeker, Lampithaler, Lyric, PatrickofIreland, Ragingbellls, ViktorSavior, Akim Alonzo, Tara Aers, Michiel Bechir, Klaus Bereznyak, Sisi Biedermann, Sheba Blitz, Zia Branner, Ilyra Chardin, Rage Darkstone, Slatan Dryke, Sophie Dunn, Elin Egoyan, Anders Franizzi, Eta Goldsmith, Pearl Grey, Layachi Ihnen, Mcpol Kamachi, Moora McMillan, Mistero Hifeng, Kayly Ilali, Moya Janus, Anibrm Jung (PAC curator), Silas Merlin, JolieElle Parfort, Melusina Parkin, Tom Prospero, Vroum Short, Ambre Singh, Sisi Singh, Tim Timaru, Maloe Vansant, Talullah Winterwolf, Cullum Writer, and yours truly.

The artists have all either been allocated space on the upper floor of the Concourse landing point, or in one of the surrounding suites. The latter are arranged in a 2-level square to provide a total of 36 gallery spaces, some of which are shared between two artists.

Phoenix Artists Collaboration: Mistero Hifeng

To facilitate easier location of individual artists, the lower floor of the Concourse building includes teleport portraits of all the artists displaying their work; just touch one to go to their gallery suite. Casual browsing of the individual suites can be achieved by stepping outside and wandering the streets (the upper and lower levels of which are connected via a spiral stairway in the south-east corner of the square) and dropping into any that catch your eye.

Given the number of artists participating in the exhibition, the breadth of art on offer is as broad as it can possibly get: Second Life landscapes, physical world art (mandalas, abstracts, digital media, paintings, drawings), themed avatar studies, Second Life vehicles, 3D pieces, reflections on SL art installations, images and words, and more.

Phoenix Artists Collaboration: Cullum Writer

Many of the pieces displayed are offered for sale, presenting an excellent opportunity for adding to collections, while (again) the number of artists exhibiting means there are opportunities to catch up with some well-known names and perhaps discover the work of some you may not have previously come across.

When visiting PAC, note that the teleport mat at the landing point provides access to further PAC spaces, not all of which may be in use at a given time (such as the events area). Chief among these is the PAC 3D Gallery, which at the time of writing featured Dressing the Decades, an “historical fashion outfits expo”, with paintings by ViktorSavior (and lists photo by Richard de Grataine Suoh and words by Alena Pit, although only Viktor’s painting were on display at the time of my visit).

Phoenix Artists Collaboration: Yours Truly

The core event at PAC officially opens between 12:00 noon and 14:00 SLT on Wednesday, January 8th, 2020.

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Time at Valium Creek in Second Life

Valium Creek, January 2020 – click any image for full size

We recently received an invitation from Vallys Lavender to visit Valium Creek, her latest region offering a mix of public spaces and rental homes, and which follows on from [Valium] (read more here). It has been designed for Vallys by Jacky Macpherson (of NorderNey fame), with assistance from Vallys and Terry Fotherington.

The public areas of the region are located to the north and east side, with the residential properties to the west and south, the latter separated from the public areas by a set of railway tracks. The landing point is to the west of the public area, close to the centre of the region, in what appears to be the remnants of a once large stone building, now reduced to flagstones spread across the grass and the stonework from the walls reused to form drystone walls.

Valium Creek, January 2020

Up a short set of steps is an open-air movie theatre complete with barbecue, and beyond that, more flagstones amidst the grass that offer access to to a shingle beach, a wooden chapel, a public seating area and the local bar. The shingle also runs around an old fishing hut and deck, both of which have both seen far better days.

It’s an eclectic mix of a setting, suggestive of a place of great age then has since been built over but even then, has seen better days. It’s a design that works exceptionally well, offering a memory of the original [Valium] – enhanced by one or two items hat featured in that build, for those who remember it (such as the old rowing boat) – whilst presenting a wholly new environment that is rich in detail.

Valium Creek, January 2020

The west side of the region comprises open woodland, rich in fir trees and cut by slow-moving rivers, the banks of which are occupied by ranch-style houses, while away from the rivers are cabins also available for rent. Most of the homes are reasonably separated from its neighbours to offer privacy. The entire layout is suggestive of a untamed setting – lived-in, yes, but still untamed: deer graze at the waterside, birds can be heard in the trees, and while there are no beavers or otter to be seen, there is a sense that if you look around quickly enough, you might just catch sight of them.

Valium Creek donates each month to The Nature Conservancy, an international organization dedicated to preserving our natural surroundings.  A portion of the Valium group join fees are donated. During 2019, Valium Creek donated the equivalent of L$80,000 and our 2020 increase to $35.00 per month will give an additional L$105,000. 

– Vallys Lavender, on continuing the charitable work
she started with [Valium]

Valium Creek, January 2020

Unlike [Valium], this new design doesn’t sit alone. To the north, and reached via a bridge, is Valium Creek Park, also held by Vallys. In some ways this continues elements found in Valium Creek – the fir trees, the railway lines – even the bridge connecting the two regions. However, Valium Creek Park is also very different.

Entirely open to the public, half the region forms an art park operated by Vallys and which will shortly be opening its first exhibition, featuring the work of Mistero Hifeng. It also encompasses a series of event spaces – a chapel set for weddings, a café, and a bar. At its western extreme, the park is dominated by a house and pond that between them mark the point of access to the rest of the region, offered through a stone arch.

Valium Creek, January 2020

The arch offers the way to two bars occupying the north side of the region. The first is Bardeco, operated by Terry Fotherington and Bridget Genna, and which has featured in the Kekeland design (see here and here for more). East of this sits Bar Relax, the work of Bridget, together with NightAttack Guardian and Lillynot Jinx.

The setting for the latter is perhaps more homely than for the former; and whilst I cannot be sure, it felt as if the land around Bardeco was perhaps still in development, denuded of trees or other flora as it was during our visit. Both of the bars share a commonality, and not just in terms of those involved in building them: they each have a local camp site, for example, while one has a small circular inlet that almost resembles a fishing hole, mirrored by the other having an actual pond.

Valium Creek, January 2020

For those seeking a new home in Second Life, Valium Creek is every bit as a attractive as [Valium] was, while the park with its arts area and three bars may offer a further attraction for those who appreciate attending events. As noted, the region on which the park sits had, at the time of our visits, something of an “unfinished” feel to it – so you might well find some additional elements when visiting. However, and make no mistake, Valium Creek is marvellously photogenic and makes for an excellent visit.

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