The Dirty Grind Independent Artist community is celebrating its sixth anniversary over the weekend of Friday, December 6th through Sunday, December 8th, 2019 with a Carnival of the Arts. The weekend will be marked by live music sets throughout the three days, and an installation by artist Bryn Oh.
At The Dirty Grind, artists and patrons are family and when one visits, one is a welcomed guest in their home. Everything from the décor, landscape and building design is intentionally planned to enhance visitors’ experience. While visiting when live shows are not going, be sure to listen to the commercial-free independent radio station, Radio Grind, featuring the musicians of The Dirty Grind family. Spend some time strolling through The Hollow and enjoy the whimsically eclectic mix of Adirondack and Steampunk design and style.
The Dirty Grind Independent Artist Community has been awarded Best Unique Venue and Top 10 Live Music Venues by Showtime Magazine.
– From The Dirty Grind website
The music event kicks-off from 14:00 SLT on Friday, December 6th, and at the time from writing, the schedule looked as follows:
Time
Friday 6th
Saturday 7th
Sunday 8th
13:00
—
Wald Schridde
—
14:00
Naga Flow
Rosedrop Rust
Zorch Boomhauer
15:00
CelticMaiden Warrior
Shannon Oherlihy
Ren Enberg
16:00
Lexus Melodie
Suzen JueL
The Matthew Show
17:00
Grace McDunnough
David Csiszer
Effinjay
18:00
Jed Luckless
Dimivan Ludwig
Twostep Spiritweaver
19:00
Jamba Losangeles
Senjata Witt
The Vinnie Show
20:00
Gypsy Dhrua
—
—
However, given that events can always undergo last-minute changes, be sure to check the Dirty Grind website for updates or changes to the schedule.
Bryn Oh: Eliose’s Dream
For the event, Bryn Oh is presenting Eloise’s Dream, featuring a scene from her 2018 installation Jane and Eloise, a story of two sisters who go fishing on Lake Superior.
Sadly, theirs is not a happy tale, as they are caught by the changing weather, their boat capsizing and Jane drowning. Afterwards, Eloise is left tortured by guilt that she survived and nightmares. You can read more about that installation in Bryn Oh: Jane and Eloise in Second Life. The inclusion of the piece is somewhat fitting, given that Jane and Eloise made its début a year ago, on Saturday, December 8th, 2019.
So, do make a point of hopping along to the Dirty Grind over the weekend to appreciate the region, the installation, the music and to wish the folks there a happy anniversary.
2019 marks the 10th Edition of 2Lei’s annual campaign to raise awareness of the plight of women the world over who face violence – physical, sexual and psychological – on a daily basis. The event, mixing art, music and talks, runs through November and December each year. I’ve already provided an introduction to this year’s Edition (see: No Violence! the 2Lei 10th edition in Second Life), and wanted to take a little time to focus down on the largest collection of art within the event, which can be found at the Black Label Exhibition Corner and urban city.
Some fifty artists are involved in No Violence! this year, with 20 of them presenting a rich mix of 2D and 3D art at BLEC and the neighbouring urban city. They are: Alpha Auer, Bamboo Barnes, Rebeca Bashly, Mavi Beck, Monique Beebe, Mona Byte, Cica Ghost, Storie’s Helendale, Livio Korobase, Kimeu Korg, Cherry Manga, Paola Mills, Meilo Minataur, Frenchy25, Pixelbeing, Natalia Seranade, Theda Tammas, Sunset Theas, Nino Vichan and Ciottolina Xue. Which, however you look at it, is an impressive list!
BLEC: Natalia Seranade – 2Lei 10th Edition
The art is equally impressive – and more importantly, evocative of the subject at hand. With the exhibition spaces, the 2D art can be found within gallery-style buildings and mounted on street fences within the urban city area, where the artists are able to present multiple image, with 3D artists similarly presenting installations throughout the city and amidst its more open areas.
As getting around everything can be confusing given the volume of art on offer, teleport boards are available allowing visitors to hop to specific installations – but I really do recommend exploring the gallery spaces and streets of the city on foot in order to gain full exposure of the sheer richness of art and narrative present here; particularly given the way the decaying condition of the urban city setting perhaps stands as a metaphor for the physical and mental decay suffered when subjected to repeated bouts of abuse.
BLEC: Mavi Beck – 2Lei 10th Edition
Such is the power of the art offered here, that offering a blow-by-blow review of the installations with BLEC is really meaningless: this is art that really should be seen first hand.
However, I couldn’t help but feel that were a single image to be used to encapsulate the purpose of No Violence! and the 2Lei collective within the art gathered at BLEC, Mavi Beck’s All’improvviso c’e’ tanto freddo (“Suddenly there’s so much cold”) would perhaps be it.
There is a haunting simplicity of message within this piece, seen on the right, from the faint indentations on an upper lips suggestive of nervous biting, to the single open wound on the raise palm that shields half of a face, to the depth of feeling that is conveyed through the one visible eye staring outward from behind that protective hand.
The 2Lei 10th Edition runs through until the end of December 2019, and I thoroughly recommend taking the time to visit BLEC to appreciate the installations there. I also recommend visiting the other locations across the grid that are supporting the event. You can pick up a teleport HUD containing all the No Violence! exhibitions from the information kiosks alongside the landing point listed in this article.
Occupying a quarter Full region that has the full region land capacity bonus, Snowed in at Zom’s has been design by Exde and LexxiHudson on behalf of parcel holder Zomborg Vollmar. Originally intended to be a private space, Zom notes:
After being told this was too pretty to keep all to myself I have decided to share my winter wonderland with everyone for a limited time! Plenty of hang out spots, and perfect set-up for winter photography! Hope you all enjoy it as much as I do.
– Zomborg Vollmar
Snowed in at Zom’s, December 2019
The parcel is beautifully decorated as a winter setting – but this can come at something of a performance hit for some due to the volume of mesh snow within the setting. As such, some might find it easier to disable shadows for ease of walking around, but this is the only issue that might be found here.
That point aside, the snow and the parcel’s sound scape really make this a place where on arrival, you physically feel you need to wrap up warm in order to explore. Not only is the snow falling, there is also what seems to be on first hearing, the sound of a cold wind blowing through the dense woodland of the setting and over / around the rocky backdrop to the parcel.
Snowed in at Zom’s, December 2019
From the landing point with its steam locomotive, a single path winds towards a cabin sitting on elevated ground. The cabin connects what appear to be the only obvious paths through the setting, so don’t be afraid to step inside whilst exploring. With a north-to-south line, the cabin includes an large wooden deck overlooking a river gorge and snowbound beach (reached via stone steps leading down from the deck), while on its east side, a second path runs between the trees to where more stone steps climb a broad table of rock overlooking the train sitting on its tracks.
The cabin is delightfully decorated and offers a warm, welcoming feeling. A fire burns in the modern fireplace tucked into a cosy lounge space, the kitchen is filled with food, complete with freshly made toast in the toaster, while a large picture window overlooks the deck and the cold river below, adding to the sense of warmth and comfort of being indoors.
Snowed in at Zom’s, December 2019
The path to the steps climbing up to the top of the rocky table will also take you past a little garden gazebo, while the plateau itself is home to a rectangular ice rink, complete with the offer of hot chocolate, although as far as well could tell, no ice skates are offered to visitors, which is perhaps a shame.
Elsewhere waiting to be found, is a little outdoor sitting area that can be accessed via a stone arch alongside the waiting train. It is set as an outdoor film space, complete with brazier keeping a meal and drinks hot (and which is also the reason for the wind-like sound that can be heard when first arriving, and is in fact the hissing of liquids being heated and the first itself). Walk out among the trees close to the cabin, and you might also find an old cable car re-purposed as a blanket-laden cosy snug, while the snow-covered beach offers a place to wrap up warm and watch the icy waters of the river flow by.
Snowed in at Zom’s, December 2019
I’ve no idea how long Snowed in at Zom’s will remain open to the public – but while it is available, I do suggest those who like seeing and photographing winter settings take the time to drop in sooner rather than later to avoid disappointment. It is more than worth the time – and our thanks once again for the pointer from Shawn and Maxie.
Raging Graphix Gallery is a newly-opened gallery curated by artist Raging Bellles and Jimbo Neximus with a mission “to promote these amazing artists and inspire those who appreciate their talent with monthly events … featuring well-known and new artists on the scene.”
For the opening exhibition, which runs through until the end of 2019, the gallery is featuring the work of two well-known artists, CybeleMoon and Big Zee, neither of whom need any real introduction. Both are quite modest exhibitions, between them occupying around one third of the total gallery space, and for those perhaps not familiar with either Cybele’s work or that of Zee, they offer warm introductions to their art.
Raging Graphix Gallery: CybeleMoon, December 2019
Cybele is a visual storyteller; her art steeped in narrative and beautifully layered. Here she presents something of a winter’s theme from her Song and Stories collection, with Winter Homecoming in particular standing as tale perfect for the season of the year.
Raging Graphix presents my second encounter with Big Zee’s art, coming on the heels of his exhibit at THE EDGE gallery (see Artistry at THE EDGE in Second Life), and once again the selection of pieces here – two of which can also be found at THE EDGE – demonstrate his feel for landscape images and his rich use of colour.
Raging Graphix Gallery: Big Zee, December 2019
The majority of the gallery features Raging Belle’s art, a number of pieces of which can also be seen at her selection on display at the December exhibition at THE EDGE. As I noted with that exhibition, her work presents insight into the richness of opportunity for expression in Second Life through a series of studies constructed around her avatar, together with vivid landscapes.
Compact without feeling small, with room to appreciate the art on offer, Raging Graphix Gallery is an interesting addition to Second Life’s artistic community. When visiting, please ensure you also visit the garden display of avatar studies by Strand, located to one side of the gallery building.
Raging Graphix Gallery: Raging Bells, December 2019
Recollection, December 2019 – click any image for full size
Recollection is a 1/4 Full region designed by Edge Shabazz with HanaFairy that offers those who seek it, a summery place of rest, peace and – if they choose – reflection.
As one might expect from the description above, as well as from its name, the parcel offers a relaxing, gentle setting that is easy to explore and appreciate. It is also a place that hides a secret for people to discover. That said, at the time of our visit in late November, the landing point had a decidedly Halloween feel to it, with a tiny Japanese style cemetery complete with ghost, skeleton and pumpkin. This feeling is increased by the somewhat gloomy default parcel-level windlight – I’d actually recommend flicking this to something a little brighter to fully appreciate the setting.
Recollection, December 2019
On arrival, it’s clear this is a place where free roaming is encouraged – while there is a “path” running through the landing point, it is not necessary to follow it; there is more than enough to see beyond it. For those who opt to use it, it links a small island to the south and the bridge stretching over the water to it, to a central (to the parcel) pond or lake, the way marked by tumbled drystone walls.
To the west of this path is a small beach and to the east the ruins of an old tower. both offer places to sit and enjoy the location, as do the grasslands connecting them: benches midst the grass and sings hanging from tree branches.
Recollection, December 2019
Across the parcel are touches of fantasy, starting with the old tower mentioned above and continuing across the little brook that lies just over the little hillock from the tower, where colourful ‘Shrooms and a fairy ring can be found on the way to the central lake.
The sense of fantasy continues with the lake itself. Rich with a carpet of spider lilies, this is home to koi swimming serenely and quite naturally above the lilies and water as a flying boat is suspended overhead on a pair of balloons. Elsewhere, awaiting discovery is a summer greenhouse, an open air picnic bench and an ancient piano playing softly. Nor is that all that is to be found.
Recollection, December 2019
However, it is across the lake that the parcel’s secret can be found. Marked by a Torii gate and surrounded by a circle of rocks young trees, is a pond-within-a-lake. Step into the waters here and you’ll find them considerably deeper than those surrounding the ring, however, hiding as they do the entrance to a set of underwater caves and chambers within which can be found a hidden shrine.
Filled with oriental touches, Recollection is a delightful place to visit, finished with an appropriate sound scape. It is a place for photography or spending time with someone close or alone and reminiscing, and is very much a worthwhile visit.
The Hannington Endowment for the Arts (HEA) is a new, community-fostered arts centre and group that has been founded to “to unify The Arts and artists in SL by providing a central info location to find all participating art related events and locations .”
Established following the closure of the Linden Endowment for the Arts – with which it has no official connection, being entirely resident supported and run, HEA has been made possible by long-time Second Life resident Hannington Xeltentat, for whom the centre and group have been named, and who directly sponsors HEA activities and art installations available at the HEA’s in-world gallery spaces, which are managed by Tansee and available on a grant basis for 1, 3 or 6 months at a time.
HEA, December 1029: Cica Ghost
For the inaugural HEA grant series, which opened on November 30th, 2019, the gallery spaces present installations by Cica Ghost, Thoth Jantzen, Lorin Tone (building structure by Elicio Ember) and Betty Tureaud. Set to join them soon are two further installations by Patrick Moya and Bryn Oh respectively, although at the time of our visit, the space for Bryn’s exhibit was “temporarily” home to The Garage Gallery of Happy Stuff, presented by Impossibleisnotfrench (aka Harry Cover).
It’s important to note that the gallery setting – and the exhibits – are best appreciated by having your viewer’s Advanced Lighting Model (ALM) function enabled via Preferences → Graphics (you do not need to necessarily enable shadows, however), and having local sounds enabled. For Thoth Jantzen’s installation you should also be willing to accept the local parcel media.
All four of the “main” artists present at the time of our visit offer 3D installations that perfectly reflect their art. Cica offers Drawn Town Small, a charming miniature of her February 2019 installation Drawn Town (which you can read about here). Like the larger version, this one comes with sit points and animations for people to discover, while Betty presents a nicely layered piece with Art of the Game that reflects her traditional use of colour as expression.
HEA, December 2019: Betty Tureaud
For TJ’s Mess, Thoth Jantzen presents a selection of pieces, some of which might be familiar to those who have enjoyed Thoth’s work at events such as past SL Birthday celebrations. Combining light, colour and sound, Thoth’s work can be living pieces, interactive pieces, and this is certainly the case here with the three larger elements. Be sure to note the instructions on entering the exhibition space.
I’ve always enjoyed Lorin Tone’s use of sound and his demonstrations of what can be achieved with sound and LSL scripting in Second Life. Within BorealisRevisited, he presents another master class – one with a deeper narrative to it than might be apparent, so excuse me if I delve a little more deeply into it.
Within a structure built by Elicio Ember, lie four small moons / planets, all orbiting a central sphere. Together, these five orbs form a set of musical emitters, the sound from the lower four constantly shifting aurally as you sit on the benches below them. Between the benches and the upper spheres are four larger, interactive orbs (three of which have a passing resemblance to the Jovian moons Io, Ganymede and Callisto respectively, and the fourth to Mercury), also circling a central point while rotating slowly about their own axes. As Lorin then explains:
The build is based on and inspired by a musical piece titled Aurora, composed by Hans Zimmer (used with permission from his management). [It] has been cut into almost 60 pieces and rebuilt into five sound emitters. Each set gradually fades in and out, and each sound emitter has a different number of silences built in; the result is five musical sections that constantly evolve, never repeating the same combination twice. [The lower spheres] contain 36 solo female voice sounds. When clicked, each will randomly play one sound one time.
– Lorin Tone, on Borealis Revisited.
HEA, December 2019: Lorin Tone
Aurora was written by Zimmer to commemorate those killed or wounded in the 2012 Aurora, Colorado, mass shooting (at the time the 3rd largest mass shooting in the United States but which is now ranked 18th – which says a lot in and of itself). It’s a hauntingly beautiful piece, and Lorin’s installation presents it as such and entirely uniquely given the way the composition constantly shifts and changes between each silence, complete with the opportunity for visitors to add their “voice” to the choral by touching the interactive spheres.
Harry’s The Garage Gallery of Happy Stuff – which as noted is a temporary installation pending Bryn Oh’s arrival at HEA, although I very much hope Harry considers an installation of his own work – is a charming mix of pieces, 2D and 3D, many of which cannot fail to raise a smile. When visiting, don’t miss the eggshibition of his charming mesh eggs, which present scenes drawn from Harry’s life experiences and memories. Most are interactive (touch the lids to close / open them and hear an accompanying sound), and the “?” plaque on the plinths supporting six of the smaller eggs can be touched for a note from the artist on the meaning behind the egg.
HEA, December 2019: The Garage Gallery of Happy Stuff – Impossibleisnotfrench
All of the HEA gallery spaces are gathered around a central landing point and information centre / arts hub, the lower part of which presents room for events, and the upper platform the information centre. The latter includes a seating area, a teleport connecting HEA to other major art galleries, installation and facilities in Second Life, and a computer terminal where artists can obtain a grant application.
As noted above, grants are available for one, three, or six month periods, with awardees presented with a total land capacity of 1,000 LI each. Grants are awarded at the discretion of the HEA staff on the basis of concept, originality, ability and space availability, and applications are open to all who are “dedicated to The Arts to learn, teach, and display their own unique original style of creativity in Second Life for all to enjoy.”
Inara Pey: Living in a Modemworld 