Art and motion at La Maison d’Aneli in Second Life

La Maison d’Aneli: Calypso Applewhyte

La Maison d’Aneli, curated by Aneli Abeyante, has opened the doors to its April 2019 ensemble exhibition, and once again brings together the work of several artists to offer a rich mix of art and artistic expression, featuring 2D and 3D art and a marvellous journey into machinima.

This exhibition starts at the gallery’s ground level, with a most unusual motor show by Willem Koba, which juxtapositions a shiny, pristine parking garage with SL cars and vehicles that have, to put it mildly, seen better days. I’m not sure of the purpose of this element of the exhibition, but it does make an interesting and unusual gateway to the teleport up to the gallery proper.

La Maison d’Aneli: Magda Schmidtzau

It is here that the rest of the artists within the exhibition display their work. Calypso Applewhyte and Magda Schmidtzau between them present two very different, yet at the same time somewhat reflective of one another.  Magda – or Maddy – has the more extensive portfolio of the two on display, and it demonstrates the breadth of her avatar work, from portraiture, through nudes and fantasy to richly artistic pieces.

Located on he upper floor of the gallery, Calypso – or Caly – offers a more focused selection of work, which leans into fantasy and science fiction elements. Like Maddy’s selection there is a mix of colour and monochrome to the set, but I admit that – as much as I admire Maddy’s work – I was drawn more to Caly’s exhibition, simply because of its captivating “minimalism”. This can be seen in both the images and in the use of the display space around them. This latter point in particular allows the eye to more readily focus on each piece individually, without the distraction of neighbouring works intruding into the eye and mind. This minimalism also presents a rich vein of narrative within each piece, which for me is fabulously exemplified in the wonderful Ma tristesse, seen at the top of this article.

La Maison d’Aneli: RazorZ

Also split between the gallery’s upper are lower floors are RazorZ and Bachi Cheng – both of whose art I don’t believe I’ve previously encountered in Second Life. RazorZ’s digital work is presented in both 2D and 3D, and is a glorious use of shape, colour and form; his sculptures wonderfully alive and vibrant, while his (apparently physical world) photographs are given a marvellous digital  / alien life through the use of colour filtering / layering.

Bachi also presents some of her physical world art on the upper level of the gallery. These are raw, intense and emotive drawings, with Bachi noting, “I love to paint Moments. Moments of life, Moments of Love, Moments so deep that you never want to forget them, Moments at the edge of orgasm or despair, just life; like we ought to live it, plainly.”

La Maison d’Aneli: Bachi Cheng

Rounding-out the exhibition is a display of Aneli’s own 2D and 3D art, and a joint presentation by Iono Allen and Theda Tammas.

The majority of Aneli’s pieces are beautifully animated and make use of geometric expression to captivate the eye. Colour and monochrome, these are pieces that tend to draw the eye into them, casting an almost hypnotic calming influence through their gentle motion.

La Maison d’Aneli: Aneli Abeyante

Iono and Theda present Samuari, a machinima short film, reached via a walk along an avenue of Torii gates set within a midnight landscape. Filmed by Iona, it utilises elements of Theda’s art (and Theda herself), within an  extraordinary piece, worthy of the best of classical Japanese film-making. The story unfolds entirely visually and sans dialogue, supported only by the use of sounds and music. It is a film that, frankly, should not be missed.

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KSAA Music Commune in Second Life

KSAA Music Commune; Inara Pey, April 2019, on FlickrKSAA Music Commune – click any image for full size

Located on the Homestead of Imagine Hall, the KSAA Music Commune is a curious region design, developed by a group of Japanese users to – as the name implies – promote their local music.

I say curious, because the overall design is a highly eclectic mix of elements with no discernible theme, but which somehow come together and work in a manner that – whether or not you attend any events there – presents itself as a photogenic environment that might best be described as, “rural shabby”.

KSAA Music Commune; Inara Pey, April 2019, on FlickrKSAA Music Commune

I will start by offering a word of caution: be sure not to step back from the landing point on arrival. It’s tempting to do so, as you land at the foot of a step ladder, but the landing point is actually on the lip of a drop of around 4-5 metres, which can lead to a little confusion as stepping back can have you suddenly dropping / sliding downwards amidst a sea of grey as textures load and render…

The landing point is located on the region’s uplands on its west side. These form a shoe-like oval of grass and tree-topped rock that drops sharply down to the coast on the wets side, and fall in a long, graceful slope eastwards on the other, the grass slope forming a natural pasture / paddock.

KSAA Music Commune; Inara Pey, April 2019, on FlickrKSAA Music Commune

It is possible to walk down this slope from the landing point – but for those who need a faster form of transport, there is a zip line awaiting passengers. This will drop people towards the bottom of the sloping paddock, just before it steps down to a sandy headland marked by a junk yard and aged and deserted big top tent. The junk yard is a haven of mess and oddities, with the wrecks of old cars, the remnants of an auto repair shop, and old furniture mixing it up with children’s toys, bric-a-brac and – indoors – computer hardware belonging to a Steam gaming enthusiast.

The upland area of the island is encircled by a railway track / grass path / dirt track which starts and ends at the sandy headland. Follow it south and west, and the railway tracks will take you over a narrow shelf of grass and rock and across a couple of usual bridges to the western end of the island, directly under the high peak. Here the grass path takes over briefly, offering the way to the dirt road, and a little farm sitting in the lee of the cliffs, shaded by cherry blossom trees.

KSAA Music Commune; Inara Pey, April 2019, on FlickrKSAA Music Commune

Curling around to the north side of the island, the dusty road points visitors to a fork where they can either opt to turn off the road and enjoy the waterside view offered by a shanty bar (pedalo boats available from the rickety pier) and the small beach just past it. If preferred, visitors can continue up a tight, steep slope to arrive at the island’s main music venue, perched under a large water tower and overlooking the beach alongside the shanty bar. This is again an eclectic space, the dance area before the DJ’s “booth” largely taken up by a paddling pool. Beyond this, the road dips back down between dry stone walls to return to the junk yard.

There are various places to sit within the region, and plenty to attract the camera, although it is also true that perhaps a little more attention to detail is required; there are a fair few items floating serenely above the ground or over tables and desks and benches that can have one grumbling and / or grateful for the object derender button.

KSAA Music Commune; Inara Pey, April 2019, on FlickrKSAA Music Commune

I also can’t speak to the frequency of events in the region  – a second dance area can be found at the back of the junk yard – there were no in-world schedule boards apparent during our visit, and Group notices are in Japanese. However, there are Soundcloud links in the Profiles of some of the team responsible for the region, which may give a hint to the types of music played here. There is also a Flickr group for anyone who feels like contributing their photos.

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Andrea DeLauren at DiXmiX in Second Life

DiXmiX Gallery: Andrea DeLauren

It’s been only a few days since my last visit to DiXmiX Gallery, curated by Dixmix Source, but I was drawn back to it with the opening on a new exhibition there, this one featuring art by A. DeLauren (AndreaDeLauren).

Located in the gallery’s Grey hall, immediately adjacent to the main entrance, Body Lines presents series of 12 avatar studies. I confess to not being overly familiar with Andrea’s work, but these are striking images, rich in colour, boldly presented, and with an abstract tone to them that captivates.

DiXmiX Gallery: Andrea DeLauren

As the title of the exhibition might suggest, the focus is very much on the avatar body, with – I assume – Andrea being her own model. But this is only part of the story; each image uses a mix of geometric lines, colour, tone, blurring / soft focus and overlays to produced a finished picture. This results in each of the pieces being an abstracted piece that holds the attention quite marvellously and evocatively. When coupled with the individual titles for each of them, it is possible to start weaving a narrative to each image – although strictly speaking, no narrative is required; it is sufficient to be drawn into these images through the use of line and colour.

Some of the pieces, visually and by title, have an obvious focus – take Chest as an example, together with Milk and Honey. Others are more broadly evocative. In this, I was particularly drawn to the somewhat psychedelic tones and feel of Windows 70s, while the mix of colour, geometry and natural curve of Hips (also used in the exhibition’s poster advertising) completely captivated me.

DiXmiX Gallery: Andrea DeLauren

The use of geometry within the images is given further depth in pieces like Zebra, and particularly the “joining” of Surrender and Back Lines, where shadow elements are used to extend the lines of the individual pieces beyond their canvas and into the gallery.

A small, but elegant exhibition, Body Lines sits well with Moon Edenbaum’s The Likelihood of n e a r e s s, on display in the gallery’s Black hall (and which I reviewed here).

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Men in Focus: April 2019 edition

Men in Focus: Skip Staheli (photographs) and Haveit Neox

Men in Focus, the gallery owned and sponsored by Men in Motion in support of the Movember Foundation (donations to which are accepted at the entrance to the gallery) and curated by JMB Balogh, launched its second ensemble exhibition on April 3rd, 2019.

The gallery is somewhat unique in Second Life, in that while there are many featuring studies of avatars at work or play or simply relaxing, there are few that expressly and solely focus on the male avatar. For this exhibition, the artists are split between invited 2D artists, invited and returning 3D artists, and those responding to a call put out to the Men in Motion group for submissions. Together these comprise:

  • Invited 2D artists: Roy Mildor, Fenris Resident, Skip Staheli, and Artem Viiperi (NykVIIPERI).
  • Invited and returns 3D artists: Livio Korobase and Haveit Neox, and Mistero Hifeng and Reycharles Resident.
  • Men in Motion photographers: Antonio Atovio;  Alex Avion, Sebastian Bourne, Fafnir Kiranov, and Niecho Vollmar.
Men in Focus: Roy Mildor

The range of art offered is once again impressive, with a good mix of monochrome and colour avatar studies. I confess that I have started to find myself drawn more to monochrome avatar images of late, and this is certainly the case here, with Skip Staheli’s portraits in particular catching my eyes, as per the banner image for this article.  The 3D art is well placed through the exhibition space, nicely split between the  gallery’s levels, allowing it to break up individual display areas in a natural manner.

While I cannot say this with any accuracy, it seems as if the gallery may have grown an extra couple of floors in order to present enough space this time around; I have this thought in the back of my head that when I last visited – for the inaugural exhibition – the gallery building was four levels tall, rather than the current six. Or maybe it’s just that I’ve been to bed since then 🙂 .

Men in Focus: Fenris

I understand from JMB, that the aim of this exhibition is to coincide with April being Testicular Cancer Awareness Month. However, there is little sign of this within the exhibition space itself; there is no graphic highlighting any connection between the two, no information giver on the subject of testicular cancer, so I’m not sure just how close the tie is intended to be.

Be that is it may, this is still a superb exhibition from a rich mix of photographers, not all of whom may necessarily be known on the wider SL art and photography scene.

Men in Focus: Fafnir Kiranov

About the Movember Foundation

The Movember Foundation is a multinational charity raising awareness of, and money for, men’s health and welfare, with a focus on cancer, mental health and suicide prevention. Its titular and widely known campaign is Movember, which encourages men to grow moustaches during the month of November. The foundation partners annually with the Distinguished Gentleman’s Ride to also raise money for men’s health.

Founded in 2003, in Melbourne, Australia by Adam Garone, Travis Garone, Luke Slattery, and Justin Coghlan, the organisation attained registered charity status in 2006, and as of 2014, has raised over US $580m in charitable donations used to fund more than 800 programmes focusing on prostate cancer, testicular cancer, poor mental health, men’s health awareness and healthy lifestyles. It is active in 21 countries and has a global workforce of 130 people. In addition, Movember coincides with International Men’s Day (November 19th), which among its aims, shares the goal of promoting the health and well-being of men and boys.

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Welcome to the Hotel California in Second Life

Hotel California; Inara Pey, April 2019, on FlickrHotel California – click any image for full size

Hotel California is a Full region designed by Lex Machine (Schmexysbuddy) that we were made aware of by Miro Collas. It presents “A war torn land fighting its way back to beauty” where, “Life always finds a way”; and it makes for a curious visit with its mix of influences.

The landing point sits in the middle of a broken bridge that attempts to span the region, rooted in a high table of rock to the north, and pointing south towards a lower hill on the southern end of the region. However, before it reaches that point, it dissolves into ruin, the paved road vanishing, leaving just the piers on which the road once stood – and these are leaning haphazardly, a mature tree sitting between them, suggesting the bridge has been in a state of ruin for decades.

Hotel California; Inara Pey, April 2019, on FlickrHotel California

The table mountain with its small, rounded dome of a peak to one side, is home to the titular Hotel California – although unlike the song, it is probably not a place you can check-out of but never leave. Its dishevelled condition indicative that it hasn’t been in service for many years, the tree within its courtyard grown to a considerable size, the café within its shade suggestive wine hasn’t been served there for a long time.

Below the mountain, the region is primarily flat, sitting just above the surrounding water, the southern hills being the only other relief. This landscape is lush, with verdant grass and yellow rapeseed. deer roam here, although there are some signs of the war that apparently tore through the land at some point: the fuselage of a transport ‘plane, the shells of buildings, and the wreckage of vehicles, including a tank and a rather unusual flying … car.

Hotel California; Inara Pey, April 2019, on FlickrHotel California

A large house, sitting atop a hill, stands apart from the ruins in that it is intact, as if spared from whatever happened. Lightly furnished, it is too large to be a farm-house, its kitchen is well-stocked, its conservatory a place of well-tended plants. Hidden behind the house sits a survivalists bunker; suggesting the house is still in use.

A very localised storm is in full career atop the remaining hill, marked by a shattered lighthouse. Here the rain falls in sheets and the lightening is violent. It looks out over the western lowlands, offering a view of both a ruined rotunda and a passing Predator drone, its weapons pylons empty.

Hotel California; Inara Pey, April 2019, on FlickrHotel California

It is to the west that the region has – for me – its most interesting features. Just off the coast sits the ruin of a large, industrial-like building. It roof is gone, its walls and floors broken, the bare rusted metal of the smashed cement walls visible. A CND “shrine” sits within this broken building, but it is the scenes outside of it which hold the attention.

From the misted waters on one side of the building rise the great tentacles of what might be a Kraken, as if reaching to tear more of the structure down. Closer to shore, a group of statues are grouped, as if frozen in the act of fleeing to dry land. Or are they the petrified remains of people who once fled the now partially flooded building?

Hotel California; Inara Pey, April 2019, on FlickrHotel California

An unusual design for a region, one that is not at all the kind of apocalyptic setting one might expect from the About Land description, but which is photogenic and somewhat prone to fancy, as per the Kraken and water scene. Those wishing to obtain rezzing rights can do so by joining the Shutter Thugs group at the landing point. Photos taken at the region can also be submitted to the Shutter Thugs Flickr group.

Altogether a somewhat different and engaging visit.

Hotel California; Inara Pey, April 2019, on FlickrHotel California

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Celebrating van Gogh in Second Life

ArtCare Gallery: Vincent van Gogh

Currently open at the ArtCare Gallery, curated by Carelyna Resident, assisted by Kurk Mumfuzz and Yany O’Real, is a celebration of art marking the 166th anniversary of Vincent van Gogh’s birth.

This is at first appears to be a most unusual exhibition, in that the gallery space is given over to large cubes, on four faces of which are reproductions of many of van Gogh’s paintings, while the inner walls of the gallery space carry a repeated reproduction of his 1888 painting, Starry Night Over The Rhone.

The reason for presenting the paintings on large cubes is presented at the landing point by a cube bearing a quote from van Gogh, “I would rather paint on big cubes, but I can’t carry them”.  Also at the landing point is a brief biography of van Gogh, that provides a broad thumbnail of his artistic output and the tragedy of his life.

ArtCare Gallery: Vincent van Gogh

Some of the reproductions include The Church in Auvers-sur-Oise (1890), The Langlois Bridge at Arles with Women Washing (1888), Olive Grove (1889), The Cottage (1885),  Still Life with Lemons on a Plate (1887), Pietà (1889), several of his self-portraits, and a two-walled reproduction of The Starry Night (1889). Between the cubes and walls are several settings suggestive of café spaces, possibly a reference to van Gogh’s mixed view of such places, of which he once said, “I have tried to express the idea that the café is a place where one can ruin oneself, go mad, or commit a crime” whilst referencing his 1889 painting, The Night Café.

It is the range of paintings present here that makes this an interesting exhibition: while some of van Gogh’s more famous paintings are shown (notably, perhaps, the Starry Night paintings), so to are perhaps lesser-known studies, such as from several of his collections: shoes, flowers, people at work, and so on, while there is a balance between his oil and watercolour works. There are also possible references to some of the less considered aspect of van Gogh’s life, such as his relationship with religion, as seen through Pietà.

ArtCare Gallery: Vincent van Gogh

My only complaints are that the use of the cubes, coupled with their size means that viewing some of the works on offer can be difficult. my second is that the paintings are presented without any supporting information – and given the selection on offer, some additional note cards / panels offering insight into some of the themes of van Gogh’s work could encourage a greater appreciation of his work.

Nevertheless, this is still an exhibition worth seeing for anyone with a love of van Gogh’s work. And I confess that while visiting it, I was once again reminded of another tribute to van Gogh’s work, that of Robbie Dingo’s Watch the World. Made far back in 2008, it takes viewers of on a time-lapse journey through the in-world recreation of The Starry Night. The build itself has long gone, but is commemorated in a couple of videos from Robbie, and I’m embedding the 2008 version, presented to Don McLean’s 1972 hit, Vincent, here.

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ArtCare Gallery (Prychek, rated: Moderate)