A Provincial Life in Second Life

Provincial Life; Inara Pey, February 2019, on FlickrProvincial Life – click any image for full size

Update: Provincial Life appears to have closed and the former host region split into private rentals. SLurls have therefore been removed from this article.

Provincial Life is the name given to a homestead region held and designed by Hania Amidst (amberfff) that, while noted in the description as a private home (with at least three residences on it), is still nevertheless offered as presenting “Lots of little photo ops [and] connected to high rock for extended exploration.”

As the name suggests, it is a rural setting, mostly set to open land over which horses graze in some numbers. Across it are also scattered a number of buildings and homes, including the private residences. Two of the latter lie on a smaller island in the south-east corner of the region, the water channel separating them from the rest of the setting helping to ensure their privacy remains intact. A further residence lies on the south-western headland and is marked by a fence and archway running across the front of the property, marking the limits of public exploration.

Provincial Life; Inara Pey, February 2019, on FlickrProvincial Life

Two more houses can be found on the region. The first is located alongside the landing point and might actually be a private home itself; I’m not entirely sure – so perhaps it is best to treat it with respect. A dirt track runs from its porch to pass an outdoor music area to one side and the last house – which does appear to be open to the public – on the other.

Sweeping past the latter, the track turns to run above a deep inlet that cuts its way into the land, before it divides to point one finger towards the private house on the south-western headland and offering a path to a gravelly beach along the way, while the second finger crooks west then north, pointing the way to a shaded pavilion and thence to a waterfront deck overlooking a small bay.

Provincial Life; Inara Pey, February 2019, on FlickrProvincial Life

This bay is bracketed by a small rocky island with a granite face looking inland that someone has been busily painting with graffiti. The island can be reached by means of a path and rope bridge reached by walking along the waterfront, and offers a high vantage point for looking back across the region.

Beyond the deck, a sandy path cuts across the grass to a rock arch offering access to where another small bay cuts into the land via a narrow neck of water.. aided by a small covered bridge, the path continues on the far side of the inlet, returning visitors by way of wooden steps to the house by the landing point.

Provincial Life; Inara Pey, February 2019, on FlickrProvincial Life

Throughout all of this, there is plenty so see and multiple places to sit for a while and enjoy the setting. Dogs play in the long grass, the aforementioned horses stands and graze in groups, sheep enjoy the heather on the south-west headland, and swings, benches and seats look out over the various points of interest – the bays, the winding tracks, the musical area, which is available for dances should visitors in in the mood; the music stream is particularly mellow and suited to a romantic dance or a little swing to the sound of a big band. Throughout all of this, birds twitter and sing under a later spring sky.

When wandering it is worth keeping an eye out for the smaller details – such as the rag doll audience awaiting a musician to appear on the truck bed stage, or the paper aeroplanes turning circles in the breeze over the meadow flowers, sharing the air above the blooms with butterflies.

Provincial Life; Inara Pey, February 2019, on FlickrProvincial Life

For those wishing to take photographs, rezzing is open – but do please remember to pick your things up behind you. If you have a wearable horse, Provincial Life is idea for taking a ride, and your horse will have plenty of neighbourly company (coughs; “sorry!”).

A charming, warm region which – as the About Land description states – is ready for photography as well as exploration. Our thanks, as always, to Shakespeare and Max for the referral!

Provincial Life; Inara Pey, February 2019, on FlickrProvincial Life

Voir: art and environments combined in Second Life

Voir Gallery: Wild Weed – Calypso Applewhyte

One of the more unusual gallery spaces to be found in Second Life is that of the Voir Gallery complex, created and operated / curated by Frenchy25, and home to both his art and that of his SL partner, Caly Applewhyte (Calypso Applewhyte), as well as featuring exhibitions by other artists.

Quite where to begin a visit is a little difficult in a quarter region space that boasts some eight gallery areas, each one uniquely defined. This being the case, I’ve arbitrarily selected The Canyon top, an outdoor area to one side of the parcel, offering foot access to the majority of the exhibition areas.

The Voir Gallery and exhibition spaces

From here it is possible to walk along the broken landscape of Merdopolis, passing a tribute to the art of Donald Judd in Marfa, Texas along the way, to where a decrepit road bridge spans a narrow gorge. Cross this, and it will  lead you to down a ramp and along a street to The Garage (currently without an exhibition), or by way of metal stairways, either back along the canyon’s side to a tunnel-like exhibition space, or up to the Voir Gallery proper (of which the aforementioned garage forms the lowest level).

The Voir Gallery and the tunnel below and alongside of it both currently house Frenchy 25’s vividly evocative imagery; beautifully post-processed avatar studies and landscape scenes. In addition, and just outside the main entrance to the Voir, are steps down to The Underground, currently displaying more of Frenchy25’s art.

Voir Gallery: Frenchy25

If you prefer, there are two other routes to be taken from the Canyon top landing point. The first is down the wooden steps tto the floor of the canyon itself, and thence by way of a small street scene to the Wild Weed. This is a wonderfully steampunk themed exhibition space (take the stone steps down through the clouds of the “sky”), home to a recently opened and engaging exhibition of images by both Frenchy25 and Caly.

Alternatively, if you take the route along the Canyon top from landing point to the broken road bridge, but turn right, rather than stepping onto the bridge, you can make your way up to an outdoor seating area warmed by a brazier, and then down a fenced road to where a shuttle pod awaits (note that a similar pod is also available in the Wild Weed steampunk area). Climb into the pod, and it will carry you further aloft to the SS25 facility high in Earth orbit, offering both another place to explore and the opportunity to appreciate more of Caly’s and Frenchy25’s art, as well as pieces by 3D artists. A shuttle pod on the outer edge of the station will also return you to the launch platform above Topaz Square – or if you prefer, a teleport disk system links the two.

Voir Gallery: SS25

The shuttle pod is just one of the many interactive elements to be found within these gallery spaces. The cubes celebrating Donald Judd’s work, for example, include poses, while the art on display in the Wild Weed and be appreciated by sitting in the steel bucket suspended from a helium balloon, or sitting within the elevator car (although be careful here! Clicking the car when seated will cause it to rise, and it’s not quite aligned with the upper platform 🙂 ).

Should you find travelling on foot a little confusing, also note that there are teleport boards scattered throughout the parcel – although they may not be at all the locations described here. A typical example of these boards is at the Canyon top landing point, by way of an example.

Voir Gallery: SS25 – Calypso Applewhyte

The Voir gallery spaces make for an engaging visit, and offers something of a journey of discovery is seeking out all of the art on on display.

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The otherworldly beauty of Whats Lost Spirits

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits – click any image for full size

We were drawn to this Full region of What’s Lost Spirits on the recommendation of Annie Oh (AnnieBrightstar). In all, there are three different areas to be discovered, but in this article I’m concentrating on the remarkable ground level design by region holder Stabitha Chronotis (What88 Zond) – although I will give some information on the other levels further below. I’m focusing on the ground level because it is perhaps the most marvellously bizarre, otherworldly, beautifully imaginative and utterly unique designs I have ever visited in Second Life. It simply defies description – and quite wonderfully so.

When I say “defies description” you really can take me at my word; there is no obvious over-arching physical theme; what is offered is a unique series of visual vignettes, each one whispering its own tale. However, they are all drawn together, somewhat subliminally, through the use of certain motifs and in the roots of their design, as Stabitha openly notes.

I have severe bi-polar. One of the fun little side-effects for me are hallucinations and very, very, vivid dreams. When I sleep, I am often taken back to familiar places and people. Time passes while I am awake, and the structures change, but the place always stays the same. Some islands represent those places, while others are based on real life experiences, fears and how I see the world.

– Stabitha Chronotis (What88 Zond), describing Whats Lost Spirits

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits

A visit actually starts somewhat innocently: in the main hall of what appears to be a psychiatric hospital. At the reception desk, a nurse with a look that suggests she should perhaps be one of the patients, is trying to tempt you with a handful of pills; in a doorway stands an ordinary-looking gentleman is somewhat Victorian garb – ordinary on his left side, that is. Cam up to the floor above (the elevator  didn’t appear to be working at the time of our visit) and you’ll find a trio of skeletons apparently discussing matters of life or death while armchairs float around their heads; across the room a model house burns, books pirouette in the air and grandfather clocks look down serenely, gravity having turned a blind eye to their misbehaviour.

All of this may sound typical of many a haunted asylum experience, oft to be found in Second Life. But trust me, it’s not. When set with Stabitha’s description of the region, it is clear this scene, complete with its set of very distinctive inmates, represents something both personal.

To help guide visitors through this world of dreams, Stabitha is adding a series of pictures frames in the region. Blue in colour, these present background story notes (you’ll need to read them; they are not touch for text / note card). The first can be found behind and to the right of the ground floor reception desk, indicated by a sculpture of a hand pointing to it, and another is to be found on the upper floor of the hospital.

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits

However, for the real proof of the region’s stunning uniqueness, simply step outside, walk across the board walk and down the stairs to the waterfront pier. What you’ll see through the haze of a twilight sky may take time to fully make out, but it is guaranteed to have your jaw dropping.

What lies before you is the most incredible archipelago of island, both sitting on the grey waters and floating in the sky – some anchored by heavy chins linked to hands grasping at the sea floor to prevent them drifting off. Most of the islands are static, each presenting its own scene, but wait a moment or two and you’ll witness that two will actually detach themselves from a larger island and either rise or descend to join seamlessly with another, thus forming the most remarkable elevators one might imagine, complete with giant elephant on one and chapel on the other.

But to reach, them, one must first cross the water. While this can be done by flying, a more interesting way is to travel over the water via the bumper boats that can be rezzed as most water level locations. But be warned – passage using them can be slightly explosive!

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits

From across the water, the setting for the landing point hospital can be further appreciated: it forms part of a broken, Gotham-like vision of New York backed by high cliffs to one side, and which has clearly experienced some form of cataclysmic event – an element shared with other parts of the archipelago.

Life and death are very much part of this setting – as witnessed through the motif of glowing-eyed skulls, and a large sculpture contained within a greenhouse entitled Birth of a World. This greenhouse is reach via an avenue of trees resembling grasping hands rising from the ground in another possibly oblique reference to death. Similarly, the chapel on one of the island “elevators” might be seen as a sideways reference to the journey of the soul, post death, as it repeatedly rises and descends. But if so, which of these is the journey to heaven?

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits

There are other, more “traditional” (if such a word can be used in so imaginative world) elements of fear and nightmare to be found here. Travel north-east beyond the central island rising from its screaming head base, for example, and you could find your way to run-down carnival with not-to-friendly clowns.

Throughout the build, the attention to detail is superb – if a little macabre in places; I have to say, I love the spirit of a dead horse rising from the corpses of several, but this might not be to everyone’s taste. It’s a wonderfully evocative motif for mind state. There are also a very subtle use of certain elements that help link the floating islands with those rising from the waters below, offering a gentle visual reflection of Stabitha’s comment that in the country of her mind, Time passes while I am awake, and the structures change, but the place always stays the same.

One thing to not is that not all the regions can be reached by boat or elevator, you will have to fly up to some to appreciate them fully; if there is a teleport system linking them one to the others, neither Caitlyn nor I spotted it.

Whats Lost Spirits; Inara Pey, February 2019, on FlickrWhats Lost Spirits

High above the region are two more settings: Super Orbital Time Station Zenobia, built by Vic Mornington (Victor1st Mornington) and Slime Square, a further build by Stabitha. The former has a certain Gallifrey citadel feel to it – although please note this may well be going away in the near future – so be warned when teleporting! The latter is (to me at least) the more interesting for exploration, offering a Ghostbusters role-play environment (do look for the “underground” elements as well). However, it is first and foremost Whats Lost Spirits that captivated my eye and imagination, and really should not under any circumstances be missed as a destination.

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Cica’s Drawn Town in Second Life

Cica Ghost: Drawn Town

I first came across Cica Ghost’s work as a result of Honour MacMillan writing a piece on Cica’s animated stick figures, displayed at LEA 13 from September 2012 through March 2013. Later in 2013 I visited Cica’s Rust, and fell in love with her work, which I started covering from Ghostville onwards.

I mention this because her latest piece, Drawn Town, which opened on February 1st, 2019, in some ways brings my acquaintance with Cica’s work full circle. Within it, she brings together both her familiar 3D design style and an echo of her drawings and stick characters.

Cica Ghost: Drawn Town

Set against a midnight sky and black sea, Drawn Town presents just that: a town surrounded by fields of flowers, all of which appear to have been drawn in chalk on a black board. Or perhaps a better description would be a white-on-black drawing raised from the pages of a pop-up book.

It’s a simple, delightful setting. Star like flowers rise from the darkened ground, mirroring those rising from many of the chimneys of the finger-thin houses. Roads and alleys pass between the houses and buildings, thier routes simple horizontal lines on the ground, while plazas are marked out like white-on-black chequer boards.

Cica Ghost: Drawn Town

Also scattered around and in the town are little black-and-white cars, available for anyone to jump into and start driving (just turn off your AO should you do so).  Also to be found are some of Cica’s familiar motifs: her cats, her little stick characters occupying various windows, and places to sit – such as a little café like setting in a town square, or benches by the fields of flowers.

Wrapped in a wonderfully apt quote by Maureen O’Hara, “In the beginning it was all black and white”,  Drawn Town is wonderfully whimsical, light and endearing. As per most of Cica’s builds, it will remain open through the month. Do be sure to visit!

Cica Ghost: Drawn Town

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The Two Loons in Second Life

Two Loons, Calas Galadhon; Inara Pey, February 2019, on FlickrTwo Loons, Calas Galadhon – click any image for full size

In January I wrote about the Grumpy Troll, the new café in Calas Galadhon, the magnificent 10-region park operated by Ty Tenk and Truck Meredith with their team. At the time, I suggested that a Water Horse rezzer and hitching post to encourage people partaking of the park’s ridable horses to enjoy the café in the knowledge they can resume their ride – an idea Ty and Truck adopted. I also made a casual observation on my reaction on hearing about the new venue:

Now, to be honest, when we received word about the Grumpy Troll, we both though it might be a local pub – the name ranks right up there alongside Tolkien’s Prancing Pony.

Two Loons, Calas Galadhon; Inara Pey, February 2019, on FlickrTwo Loons, Calas Galadhon

Well, Ty surprised me with an IM: “I used your suggestions again by actually putting up a little pub on Gulf of Lune,” Ty informed me via IM. “Similar in feel to The Grumpy Troll, but built around alcohol consumption!” So of course, I had to hop over and take a look at the new build – called the Two Loons – and it really is a nicely cosy place in which to spend time.

Located in the wetlands of the Gulf of Lune, it’s set somewhat apart from the riding trails, but can be reached on foot (or indeed horse back) along the raised board walks that wind their way across the boggy, wet lowlands. Sitting on the edge of deeper waters, the Two Loons offers wonderful views out over Belegaer and the Grey Havens, and back across Dimrill Dale (with the Grumpy Troll seeming just a stone’s throw away across the waters of the intervening bay).

Two Loons, Calas Galadhon; Inara Pey, February 2019, on FlickrTwo Loons, Calas Galadhon

Combining designs by Cory Edo (I believe I’m right in identifying her Piper Hideaway House and elements from the Yara Treehouse), the pub is wonderfully snug whilst also remaining open to is surroundings. The main lounge area, complete with pot-bellied stove, carries an impressive range of wine (so impressive, I’m tempted to move in!), with comfortable armchairs and sofas in which to sit while enjoying them. For those in the mood, the outer section reached via a little rope bridge offers both room to dance (look for the bird table outside to get the dances) and seating out on a deck suspended over the water, while above the main lounge is a little “crows nest” covered area again with a raised deck where views across the park can be enjoyed.

Further comfort to time in the bar is provided by the seating animation, which allow the wine to be properly enjoyed, and which offer a feeling of social comfort that is delightful to share. Plus, the use of Cory’s designs within the overall build means that the Two Loons and Grumpy Troll share a nice feeling of similarity / continuity  / homeliness that is another delight with a visit to both.

Two Loons, Calas Galadhon; Inara Pey, February 2019, on FlickrTwo Loons, Calas Galadhon

There are many, many reasons for visiting Calas Galadhon, as I noted when writing about the Grumpy Troll. With the arrival of the Two Loons, yet another has been added to the park’s attractions – and it is likely to be one I’ll be returning to frequently; it really is the ideal place to spend time at, and has already made its mark with Calas regulars.

So why not drop in and see for yourself?

Two Loons, Calas Galadhon; Inara Pey, February 2019, on FlickrTwo Loons, Calas Galadhon – with the Grumpy Troll in the background, to the right between the uprights and the sign

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Art and artists at La Maison d’Aneli

La Maison d’Aneli: Xirana

Now open at La Maison d’Aneli Gallery, curated by Aneli Abeyante, is an interesting ensemble art exhibition featuring the work of Nabrej Aabye, Xirana (Xirana Oximoxi) and Betty Tureaud.

A writer and artist in the physical world, where she is known as Núria Vives, Xirana presents Women Artists XVI-XIX, intended to both showcase the work of ten female artists from the 1500s through to the early 1800s. In particular, the exhibit is intended to illustrate “the difficulties they had to deal with to be recognised as professional artists”.

La Maison d’Aneli: Xirana

The ten artists in question are presented with a portrait by Xiranna, together with (for the most part) 2 of their paintings. The critique they faced is designed to be evidenced by the male silhouettes passing comment in speech bubbles.

However, how representative the comments are to critiques the artists may have faced is perhaps questionable. For example, the idea that Élisabeth Sophie Chéron was unknown as a painter in her lifetime is hard to reconcile with the fact that while alive, she was acclaimed as a gifted poet, musician, artist, and academicienne. I found myself having similar niggles around the presentation of several of the other artists as well (notably Mary Beale and Élisabeth Louise Vigée Le Brun – with the latter, it is not unfair to say many artists, regardless of gender, depended upon the patronage of royalty and / or the rich).  The flip side to this is the controversy of accreditation of Judith Jans Leyster’s work is pretty on-the-nose. As such, in lieu of notes from Xirana outlining her view on how these artists faced prejudice, I would suggest taking time to Google them and draw your own conclusions.

La Maison d’Aneli: Nabrej Aabye

Across the hall, Nabrej Aabye presents a series of his vibrant paintings, split between those created in the physical world and those that appear to have originated with images captured in Second Life, all of which are framed by a story mounted on the wall in alongside the entrance to his display space.

These are all remarkable paintings, a good number abstract in nature, but all alive with colour and depth. Alongside  of the abstract are portraits suggestive of an origin within Second Life (Recto Verso and The Architect), while also to be found in the mix are animal studies, two of which also appear to have their roots in SL (The Elephants’ Dance and Refugees).

La Maison d’Aneli: Betty Tureaud

The final exhibit is a 3D installation by Betty Tureaud, which appears untitled. I’m note entirely sure how to view it myself so, and without wishing to appear in any way dismissive, I leave to visitors to define it for themselves.

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