Carolyn Phoenix at Club LA and Gallery

Club LA and Gallery: Carolyn Phoenix

“There’s a crack in everything. That’s how the light gets in” are the words printed on the invitation to see an exhibition of photographic art by Carolyn Phoenix that recently opened at the Club LA and Gallery, curated by Fuyuko ‘冬子’ Amano (Wintergeist). Whether this is the title of the exhibition or a byline for it, I’m unsure. But I can say that the pieces on offer are hauntingly beautiful in their composition and presentation.

The mezzanine level of the gallery, where the exhibition is being hosted, has been converted into a dark, enclosed space in keeping with the title / byline. On display within it are 20 images by Carolyn, sharing the space with torso mannequins equipped with angel wings that add to the dream-like feel of the environment.

Club LA and Gallery: Carolyn Phoenix

The images themselves are mostly dark in tone and subject – so much so that specific details can be hard to make out beyond the shard or pools of washes of light each image contains. These bursts and flickers and beams of light reflect the title  / byline: they have seemingly entered the worlds of these pictures through cracks or holes or as a result of sunlight breaking through clouds or a lone bulb hanging from a ceiling or a reflection from somewhere, to revel things that might otherwise remain unseen.

What these casts of light reveal various from image to image.  Some are mindful of dreams or secret thoughts, often dark in tone – the kind of imaginings we’d rather not shed public light upon, but that nevertheless draw us to them. Others are lighter in nature, simply exulting in the play of light and shadow or the beauty of an artist’s expression of their work; there’s even a hint of playfulness about one.

Club LA and Gallery: Carolyn Phoenix

Some of the images seem to call into focus ideas of identity and of judgement. Teller (seen on the left of the banner image for this review) for example, with its reclined figure looking at a list of eyes from eyeless sockets, tends to suggest the idea of how we present ourselves to the world. The eyes, after all, are the windows of the soul; so how better to project who we might want to appear to be than by selecting our eyes, and only revealing what we want to be seen of ourselves? At the same time there is another potential interpretation: if the eyes are the windows into the soul and thus to who we really are, then how better to remove the potential for the light of understanding to penetrate our inner self than by expunging our eyes altogether, lest we be judged for what lies within.

Judgement is a theme brought into focus by a piece called Verdict (on the left of the image directly above these two paragraphs). But Again the meaning seems to be twofold. On the one hand, the tall figures surrounding the smaller one suggest a fear of judgement; of being looked down upon by others. But closer examination of the smaller subject, catsuited and hooded, perhaps suggests something else: a desire to be judged, to be found wanting and perhaps “punished”. Thus the light haloing the scene perhaps reveals kink-edged secret she at the centre of the image would rather remain hidden to all but a few – or even takes a guilty pleasure in having it so revealed…

Club LA and Gallery: Carolyn Phoenix

Nuanced throughout, a captivating display of photographic art well worth visiting. And while doingso, why not avail yourself of the exhibitions by tralala Loordes and Sighvatr (worthaboutapig), both of which can be seen or accessed on the ground floor of the gallery.

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A Concrete Diorama in Second Life

Concrete Diorama – G.B.T.H Project

The G.B.T.H. (Grab By The Horns) Project, curated by Megan Prumier and Marina Münter, and described as being “focused on the extension of creative processes, 3D environments and art related subjects”, opened its August 2018 exhibition at the start of the month.

Concrete Diorama features the work of sculptor Mistero Hifeng, presented in a strange, semi-dark environment where the contrasts of dark  – black and grey – spaces with the bursts of brilliant white within some chambers is as much a part of the exhibition as Mistero’s pieces.

Concrete Diorama – G.B.T.H Project

From the landing point, visitors travel along a semi-dark hallway, lined by port holes lit by spotlights. Each portal looks out over individual scenes of couples caught in acts of tenderness, suggesting a theme of love (and perhaps loss or regret). A second darkened hallway follows, windows on either side looking out onto scenes of figures floating in bubbles. Further along, two large proportioned figures stand beside cracked models of the moon, ramps to either side of them leading up to the first of the white chambers. Here, figures lie in a circle, prostrated under fine mess nettings, all facing a central lone tree.

In further chambers dancers perform ballet as couples lie in shallow troughs in the floor, whilst a grand diorama focused on a piece called Bruciando Ricordi (Burning Memories) awaits in the uppermost chamber of the exhibition space.

It’s a haunting, evocative setting, rich in mood and emotion. The expressions of love and loss, coupled with pleading, desire, and regret are all present throughout – most clearly through the crowning piece that features Bruciando Ricordi, which joined by the likes of La Magia di Quell’incanto (The Magic of That Enchantment) and Su Questo Silenzio…Balla (On This Silence … Dance). But the nuances and measure are broader than may first appear.

Concrete Diorama – G.B.T.H Project

The couples in their troughs beneath a transparent floor, for example, perhaps carry with them the idea of loss through death, and a desire never to be parted. Meanwhile, the figures prostrated around the tree under their fine netting, appear to be in a different kind of mourning. Are they perhaps a reference to the way we humans can be indifferent to the plight of nature at our hands – at least until it is too late, as signified by the denuded and barren tree sitting at the centre of their circle and the apparent focus of their grief? And what of the large women beside their broken moons? Are they attempting to hide their heads in shame, the result of seeing the slender figures before them, and the  knowledge that society encourages us to embrace the slim as figures of beauty and reject the over-sized?

I’ve long appreciated and enjoyed Mistero’s sculptures, but this is perhaps the first time I’ve seen them brought together in a way that suggests a layered, nuanced narrative; one that resides not only in the individual pieces or in the way some have been brought together to form a diorama, but also right throughout the different levels and chambers within the installation as a whole. It’s an approach that, despite some of the darker tones (literal and metaphorical) apparent in the exhibit, is both effective and captivating.

Concrete Diorama – G.B.T.H Project

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A Farewell to a Pandora Box of magical Dreams

Pandora Resort; Inara Pey, October 2017, on FlickrNamaste – click any image for full size

I’ve written about the region designs of Lokhe Angel Verlack (Jackson Verlack) since April 2015, when I first discovered one of his first iterations of Pandora Box of Dreams – the name he has largely used to denote the regions he has designed and run with his SL partner, Miza Cupcake Verlack (Mizaki).

Over the years, these designs have grown in complexity and vision, he and Miza have also moved from the Pandora Box of Dreams approach to design role-play regions inspired by the World of Darkness universe (see here and here) before returning once more to the Pandora Box of Dreams “brand” with region designs that have mixed rental accommodation with stunning places for visit and spend time, such as the former Pandora Resort, and more recently Namaste and Kamigami, both of which I visited in 2017 (see here and here).

Pandora Resort; Inara Pey, October 2017, on FlickrNamaste

Sadly, word came from Miza that Namaste and Kamigami will be closing on August 1st, 2018. In fact, Jackson has already started dismantling Kamigami. What’s more, it’s likely to be the last public region design we might be seeing from Jackson for a while.

The reason for the closure isn’t the hoary old devil of tier per-se – whilst offering rentals for people, Jackson and Miza have largely covered the cost of the region out of their own pocket. Rather, its a lack of footfall through the region. Despite frequent events, the opportunity to enjoy two very well-designed and captivating locales, the region has seen a steady decline in traffic which, sadly, has reached a point where Jackson and Miza feel they’d rather focus on more personal projects and things that give them enjoyment.

Pandora Resort; Inara Pey, October 2017, on FlickrNamaste

In this, they are far from alone: the truth is that such is the vastness of Second life and the constant popping-up of new regions and new places to visit, those places that offer a sense of longevity and comforting familiarity, unless located on the mainland, do become harder and harder to maintain when it comes to drawing a steady flow of traffic. Even with things like tier reduction (and depending on how that is passed on through land companies when it comes to rented regions), a point can so easily be reached  where the effort in trying to maintain that flow and meeting the cost of keeping a region has to be put into perspective and a decision sometimes made.

I admit, I feel a little guilt here; as a Second Life travel blogger, I’m all too keen to hop to the “new” places and write about them, or hop back to those that are given a make-over every few months. It becomes all too easy to forget about those that are there, month-on-month and never overly changing, but offering a consistent beauty for all to enjoy. Perhaps this is something all of us who write about Second Life need to keep in mind, and consider looking back at some of the regions we’ve visited in the previous year that might not have changed in the intervening time, and just dropping a “reminder” note about them for readers who may not have had the chance to visit, or might be unaware of their presence.

Kamigami, Pandora Resort Town; Inara Pey, February 2018, on Flickr Kamigami, Pandora Resort

In the meantime, the gradually disappearing Kamigami notwithstanding, there is still a little time before the region closes on August 1st, 2018, to visit Namaste and say farewell, and perhaps drop a note of thanks via IM or notecard to Lokhe and Miza for sharing their vision with us.

For my part, I hope this is not the last we’ve seen of Lokhe’s designs; he has amazing vision in creating special places, and my thanks to him and Miza for allowing us to share in them.

Pandora Resort; Inara Pey, October 2017, on FlickrNamaste

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Ponto Cabana, Lemon Beach, in Second Life

Ponto Cabana; Inara Pey, July 2018, on FlickrPonto Cabana – click any image for full size

Lemon Beach is a place we’ve frequently visited in Second Life. From at least 2015 through until early 2017, it was held by Silvermoon Fairey under the name It’s A New Dawn (see here and here for more). More recently, it has been held by Iska (sablina), who initially gave it the name La Virevolte (The Twirl), occasioning us to visit on two occasions in the winter of 2017 and the spring of 2018.

Iska, working with working with Chimkama, and Toxx Genest (ToXxicShadow). has now give Lemon Beach a further makeover, and a new name, Ponto Cabana, presenting a reason to make a further visit as July drew to a close.

Ponto Cabana; Inara Pey, July 2018, on FlickrPonto Cabana

In its new guise, the region offers a curious mix of settings. On the one hand, there is a feeling that perhaps this is in part an old Spanish colonial plantation somewhere in the tropics. A grand house sits on the highest point on an island, steps descending down through what might have once been cultivated terraces to where the old road runs past the foot of the hill before snaking its way up to the house. In doing so, the road turns sharply past the single remaining wall of an old chapel. This may have once been a part of the estate, but time has not been kind, the lone wall with its forlorn bell sitting above the sea.

Some of the terraces below the house are still being cultivated, although these now appear to be more for personal use than for growing produce destined for market or export. The rest, sitting before the house and cut by both winding road and grassy footpath, are given over to an informal garden. Meanwhile, the house with its white, adobe-like finish cracked and broken in places and clearly roughly patched in others, has a sense of stately age about it, perhaps just a little at odds with the furnishings within and around it, which suggest the current occupants lean towards a more bohemian lifestyle than one focused on the cultivation of local plants and fruits.

Ponto Cabana; Inara Pey, July 2018, on FlickrPonto Cabana

Across the water, on another rocky-sided island, there is a slightly different look and feel. The structures here are mostly more modern in style – if a lot more run-down than the adobe fronted house. A paved road, leading to and from nowhere, arcs past a large house – or about what’s left of it, given its broken form is now subject to nature’s claim. Across the short sweep of road sits an old swimming pool, a pelican perched on the rusting frame of a diving board perhaps wondering just what happened to the water.

Up on a headland, beyond the ruin of an old fort, sit a raised wooden hut with evidence of some occupancy scattered about it, but on the whole the feeling here is of a place now deserted; or at least in the process of being deserted. A car piled high with luggage sitting incongruously on the road outside of the ruined house as if ready to forever depart, a stubborn donkey standing before it, determined to stare it down. The road itself ends just behind the donkey, a set of steps leading down to another pat of the setting that again has a feeling of age about its occupancy in the form of the ruins of a stone chapel.

Ponto Cabana; Inara Pey, July 2018, on FlickrPonto Cabana

Of grander stature than the lone, bell-carrying wall near the old plantation house, this ruin speaks of a once proud centre of worship with something of a medieval bent in its design. The way to it has long since been flooded, but stepping-stones offer a way across the water to the foot of the steps leading up to its stone flagged floors even as a wooden bridge offers access to the lands around it. Flamingos wade through the water, while humming birds flitter busily around the flowers growing from it and – in another incongruous, but oddly acceptable touch – two little hippos stand knee-deep in the water.

All-in-all, Ponto Cabana is a strange and eclectic mix. However, it is an eclectic mix that works, and works delightfully well. With places to sit and relax – notably around the old plantation house, surrounded by off-sim islands heightening the tropical feel for the setting, and even a couple of off-shore perches to enjoy, Ponto Cabana makes for an ideal and photogenic visit.

Ponto Cabana; Inara Pey, July 2018, on FlickrPonto Cabana

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From the sketchbook of Kayly Iali in Second Life

Visions of Beauty Gallery 2: Kayly Iali

Open now on the upper floor of the Visions of Beauty Gallery 2 is an exhibition of physical world art by Kayly Iali, featuring pieces from her sketchbook as well as paintings. Untitled, so far as I could tell, the exhibition includes 11 pen-and-ink architectural sketches, together with a selection of what appear to be pen-and-watercolour paintings, to offer a total of 28 images (including what might be regarded as the “title” image to be appreciated.

I’ve long admired the skill of those who can draw or paint – I lack any such abilities in either sphere – and I also have a love of architecture, so this exhibition really appeals to me. The pen-and-ink drawing, showing specific elements of buildings, coupled with the angle from which they have been captured, are marvellous exercises in art and perspective. They present not just the form of their building subject, but also its very nature; there is a wonderful beauty in the aspects Kayly has chosen to capture, the lines, materials, angles, that each of the buildings see offer here seems to be very much alive.

Visions of Beauty Gallery 2: Kayly Iali

The breath of life is very much in evidence in the paintings facing the sketches from across the gallery space. These comprise a range of subjects, from people through to architecture by way of nature. Most of these – perhaps because of their use of colour – offer not some much standalone images, as might be said of the pen-and-ink sketches, but vignettes; scenes of broader stories caught within their  frames. Just what are Heather and Lucy sketching? What is the raptor trainer telling us about the bird perched on his glove? Where will the story of the woman nursing her child take us?

Capped by a set of four painted architectural pieces that form a natural link between paintings and sketches (which particularly work if visitors follow the tendency to turn to the right at the top of the stairs to the display space), this is a genuinely delightful exhibit. My congratulations, also, to Kayly on her selection to be part of the 2018 (?) Crocker/Kingsley Art Competition – one of 75 artists to be selected out of 1,200 applicants!

Visions of Beauty Gallery 2: Kayly Iali

When visiting Kayly’s work, do take time as well to enjoy the exhibition of digital geometric art by Giselle Seeker on the ground floor of the gallery building, and more of Sisi Biedermann’s wildlife and fantasy art, some of which I wrote about recently, and which lies on the mid-level of the gallery building.

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Erebos Harbor in Second Life

Erebos Harbor; Inara Pey, July 2018, on FlickrErebos Harbor – click any image for full size

The lowering sun glints off the copper dome of an observatory, skylined to the north of town square. The shutter door is open, cutting a slice of darkness into the curve of the dome, but any telescope that may once have lain within its protection has long since gone.

Seated upon its throne of a high plateau north of the town, the observatory presides over Erebos Harbor, what may have once been a series of impressive terraced gardens set immediately before it. A waterfall tumbles in two deep steps from the high rocks, a sliver of silver against their darker faces, further enticing people to heed the siren call of the high dome and travel north towards it.

Erebos Harbor; Inara Pey, July 2018, on FlickrErebos Harbor

I make no apologies for writing about this build by Leaf (Peyton Darmoset) and Julz (Juliette Rainfall) under the dirty.pretty banner, so soon after visiting Cloudbreak (see: An Indonesian Cloudbreak in Second Life). This is because, like the regions of Cloudbreak, Erebos Harbor is an extraordinary build, quite breathtaking in its design and execution, and fully deserving of an article to itself.

It is, in summary, very much a region of three parts. To the south is a small town style layout, complete with fishing docks and a railway siding. To the west sit two humped islands of rock, reached by high bridges, where homes and beaches might be found. Then, to the north, and dominating the setting, sits the imposing bulk of the old observatory.

Erebos Harbor; Inara Pey, July 2018, on FlickrErebos Harbor

Despite the boutique cafés with their street side parasols or paved gardens, or the warehouse converted to a music venue, the town has a feeling of perhaps being past its prime. Brickwork is careworn, the streets look a little tired, stores lie empty, packing cases on their bare floors, while the garage space at one end of a set of shops has lost both its roof and upper floor.

To the west, the islands are home to the region’s rental properties – predominantly wooden-build cabins and houses overlooking the surrounding sea and water, or descending to cinder beaches on their west side. The rental properties up on the tops of the islands are relatively easy to identify, but do be aware there are what appear to be a rental down on the beach as well, so do please respect the privacy of the tenants. Another private residence also sits down on the west side of the “mainland”, at the edge of the channel separating it from the outlying islands.

Erebos Harbor; Inara Pey, July 2018, on FlickrErebos Harbor

However, it is the observatory that is liable to attract the visitor’s eyes and feet. Impressive from a distance, it is nothing short of stunning when seen up close; Leaf’s vision for the setting is extraordinarily imaginative. While the town below may give hints of having seen better days, this is clearly a place that is well past its prime, and where nature has decided to take up residence – indoors as well as outside. Where the terraced gardens may once have been of a more formal layout, now they are overgrown, any paved paths or lawned walks that may once have connected the stone steps between the different terraces now long gone, replaced with wild grasses or bare ground. In some places, even the stone steps have gone, replaced by wooden walkways and stairs, including those up to the observatory itself.

This is  wonderful home build / kitbashed structure by Leaf which deserves to be seen and appreciated in its own right. Some of the walls are crumbling, the observatory dome no longer protects a telescope, while inside, nature has long since taken a hold on things – although a huge and uniquely finished orrery still operates within the foyer space of the planetarium. Outside, there is a wonderful use of décor in the gardens I freely admit to the way Leaf has converted from the wildlife creations of Hannah Kozlowski into the must far-reaching of statues.

Erebos Harbor; Inara Pey, July 2018, on FlickrErebos Harbor

Scattered across the observatory’s terraces are numerous places to sit, whether by oneself or with friends, and to enjoy a cuddle with a loved one. These include, for the daredevils out there, a bed-like platform suspended over the waterfalls tumbling down the sheer rock face to a pool below. Those seeking a less risky pursuit than leaping down to the platform can enjoy the open-air movie theatre sitting in the lee of the plateau’s west side.

There are a host of little treats to be found throughout Erebos Harbor, indoors and out, so exploration is highly recommended – keeping in mind the private residences to the west of the region. Photographs are welcome at the dirty.pretty Flickr group, and rezzing rights can be obtained by joining the dirty.pretty in-world group. As noted above, this is a truly exceptional region in terms of design and settings, and absolutely not one to be missed.

Erebos Harbor; Inara Pey, July 2018, on FlickrErebos Harbor

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