A scene to remember in Second Life

Oboeru; Inara Pey, June 2018, on FlickrOboeru – click any image for full size

Update: Oboeru has closed. SLurl in this article have therefore been removed.

A fog horn plaintively calls in the early morning light, the Sun slowly burning through the dawn haze as it rises over the eastern horizon. Cicada song mixes with that of birds greeting the dawn and the stridulation of crickets, while in the background the dull rumble of waves breaking on a shoreline resonates through the air.

These are the sounds that greet visitors to Oboeru (“Remember” or “learn” in Japanese), a Homestead region designed by  Manis Lane and Axiom (Axiomatic Clarity). This is a place that is hauntingly romantic in its near-desolated nature; a low-slung archipelago, the main island of which has been clawed by long fingers of water, its outliers of varying sizes separated from it by channels which can be surprisingly deep.

Oboeru; Inara Pey, June 2018, on FlickrOboeru

This is a place which seems to brood under the early morning half-light; the deep mewling of the foghorn seeming to cloak the islands in an air of sadness. And yet this feeling of loneliness combines with the rugged setting with its patches of scrub grass, scatterings of copses of tall Scots pine and gatherings of shrubs and bushes, to present a place of mystery tinged with that hint of romance.

A single table of rock rises from the centre of the region, giving shape to the north-south “spine” of the main island. The single-storey building crowning this plateau calls to visitors as they arrive at the landing point, sitting on a knuckle of land to the north. Reaching the building takes a little effort – the plateau is pretty much sheer-sided, but a way up onto it can be found on the southern side

Oboeru; Inara Pey, June 2018, on FlickrOboeru

The building has the look and feel of a clubhouse; outside the front of the place is room to enjoy music and perhaps dance, while the rooms inside offer plenty of space to set on large sofas. Each room has its own bric-a-brac to set a cosily untidy setting for people to relax within; music also a theme indoors as well as outside.

There are a couple of other structures to be found in the region. To the west, and sited to offer a clear view of sunsets over the ocean, stands a tall tower of slowly rusting metal, creepers hanging from its frame as if a giant wave has at some point draped seaweed over it. Metal stairs climb two sides of the tower, offering a way up to its rusted platform, where an old sofa awaits, facing the sea under a canopy of circling gulls.

Oboeru; Inara Pey, June 2018, on FlickrOboeru

The second structure lies to the north-east, on one of the larger outlining islands. This is the ruins of a church or chapel,  windows now without glass, bushes reclaiming the space inside its walls as much as the space around it. Yet it is far from forlorn, and the stairs climbing to the flat roof offer another route up to a place where one can sit and remember or reflect…

There are numerous places to sit scattered over the landscape – from rooftop to tower to chairs amidst flowers. Board walks strike out over water, but sometimes with no direct connection to the land; but be warned, some of the channels the sit within are quite deep, as I’ve noted, so wading out to a board walk might hold a surprise.

Oboeru; Inara Pey, June 2018, on FlickrOboeru

Oboeru is an atypical region in its styling and approach. There is – as I’ve noted – something hauntingly beautiful about the entire region – the design, the windlight, the aural sound scape. Not a region to be missed.

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  • Oboeru (Landscape Dialog, rated: Moderate)

With thanks to Miro Colas for the pointer to Oboeru

Milly Sharple’s new fractal insanity

Fractal Insanity – The Art of Milly Sharple

Update, June 15th, 2018: I received the following from Milly – “I know I said I was staying put for a while but I ran out of space!” So, this being the case, she has relocated her gallery to Serena Montecito, where her art now resides in two buildings, rather than the single build described below. All SLurls in this article have been updated to reflect the new location. My thanks to Milly for letting me know.

I last wrote about Milly Sharple’s extraordinary art in October 2017. At that time, she had – as a result of a huge amount of support  / demand from friends – established a new gallery, after previously announcing she was retiring from Second Life art. A lot has happened since then; for one thing, her gallery of that time has since closed. Gone it may be, but the opportunity to experience Milly’s art as she would like it to be witnessed, has not.

“The old gallery never felt quite right to me,” Milly told me recently, “and I have re-opened a new version of Fractal Insanity – The Art of Milly Sharple at a new venue.”

Fractal Insanity – The Art of Milly Sharple

The new gallery, located in a sky sphere, showcases the rich diversity of Milly’s art. There is – obviously – her marvellously captivating fractal art, both static and animated.  The new gallery, with it predominant use of black and grey, brings these pieces sharply to life, the subdued wall panels and dark block walls bring out the rich depth of colour and contrast of these pieces.

Fractal Insanity – The Art of Milly Sharple – Woman With Cat – quite possibly my favourite of Milly’s pieces on display

Alongside of the fractal art, are pieces of Milly’s work in mixed media. These are also brought into vivid focus by the finish applied to the gallery building.

As much as I am a deep admirer of Milly’s Fractal art – I have to admit her mixed media work is as equally stunning – and quite possibly more enchanting. The use of colour, coupled with the almost etching-like finish to many of the pieces brings brings them to life in a remarkable way. Whether floral representations, animal studies or pieces with a more fantasy edge, or presenting an image such as a portrait through the use of fractals, these pieces are utterly captivating.

The gallery building offer two floors of display place – the ground floor and a mezzanine above. However, this is not all there is on offer, as Milly explains.

“I have closed the roof in to make more space and also added a sky sphere … There are teleporters in the gallery that go to the two extra levels.”

These teleport disks can be found on both of the lower levels of the building. At the time of my visit, the first of the upper levels – reached by teleporting to Rooftop 1 or Rooftop 2 – focused on Milly’s fractal work; the sphere above it, a selection of Milly’s animated etchings, which again should not be missed during a visit.

Finished with 3D art items, some by Milly herself and others modified by her, Fractal Insanity – The Art on Milly Sharple is a very welcome expansion of a public display of Milly’s art, and one which should be seen to be fully appreciated. One which, once seen, is liable to draw the discerning admirer of art back to it time and again. For those who enjoy their time visiting, kitty would appreciate a donation via his jar alongside the coffee machine.

Fractal Insanity – The Art of Milly Sharple

Congratulation to Milly on her new gallery – and my thanks to her for extending an invitation to visit.

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Looking into Devin’s Eye in Second Life

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye – click any image for full size

Miro Colas recently tweeted me with a suggestion that Caitlyn and I pay a visit to Devin’s Eye, a Homestead region which recently opened in Second Life. As the name was familiar to me, we hopped over to take a look, confirming in the process that Devin’s Eye is the work of Roy Mildor and Ally Mildor (Ally Daysleeper), and represents something of a continuation of their work as we first came across it in Devin, back in January 2017, offering as a does the opportunity to visit two sim-wide locations  – one on the ground, and the other in the air. (As a point of note, Devin still exists, but appears now to be under private ownership.)

The ground level location offer a rugged island setting with offshore mountain ranges to the east and north. The landing point is located towards the centre of the island, close to a cove that cuts into the island from a narrow neck of a channel spanned by a log bridge, with a smaller and entirely land-locked body of water close by.

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye

The south-eastern quarter of the region is given over to a rocky highland area, rising in steps to coastal cliffs that shelter in their landward lee, and somewhat incongruously, a motorcycle repair shop. The land before this slopes gently away towards the inland waters, largely denuded of trees but given over to growths of tough grass and shrubs, with the remnants of another barn and the bulk of a farm tractor sitting upon it.

These uplands continue northwards along the east side of the region, becoming gradually more verdant, becoming the home of grazing horses and coloured by shrubs and plants whilst offering several places visitors can sit and snuggle both on the ground and up in a wooden tower.

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye

To the west and north, the rocky lowland flow around the landlocked pool and watery coves to reach sandy beaches as fir and temperate deciduous trees slowly yield to palm trees out on the sandy headlands. Bridges of various types offer ways across the different bodies of water, connecting sand with sand or to the gently rising uplands to the south.

There is much to be found here. The open nature of the landscape, largely devoid of set routes through it, encourages visitors to explore. So it is that in wandering, visitors might come across a little clearing here where the opportunity to dance is offered, or find a bubble car rezzer there, allowing them to float over the landscape from above (the usual PAGE UP/DOWN, arrow & WASD + E/C keys to rise, descend and move), whilst elsewhere might be found a little camp site or beach-side chairs might be found, or a rowing boat to cuddle on… These are just some of the many attractions  the region has to offer.

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye

For the more active, there’s the opportunities to walk out along the pier to the north or go for a swim using the rings in the surf along the beaches or to ride the zip line ride running down from the southern uplands.

When taken as a whole, Devin’s Eye at the ground level can initially can come over as a curious potpourii of themes and scenes  which might in other circumstances clash one to another – the random wreckage of a plane crash, the motorcycle repair barn on its rocky shelf, the random placement of railings, the more coherent placement of fishing boat hulk and beach, together with the offshore scenes of boats at anchor, and so on. Yet the simple fact is – it all works, the different ideas and settings flowing together naturally to offer visitors something unique to enjoy.

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye

The upper level of the region – referred to as Devin 2 – can be reached via a number of teleport boards scattered across the ground level setting (one most notably placed alongside the landing point), which also offer quick hops to various points at ground level.

Devin 2 is remarkably similar to its former namesake at Devin, presenting an area which might be taken as a part of the Sahel Zone of Africa, with rolling dunes, some of which are covered in a thin but tough mat of grass, scattered trees and a lone watering hole where the local wildlife – elephants, zebra, rhinos, gazelle and giraffe – come to drink and seek shade while camels troop by. Only the cheetah appear to be looking for more than a drink and a rest as they pad towards the little dazzle of zebra. For those so inclined a dune buggy rezzer is available here – but as the landscape joins almost seamlessly with a region surround, keep an eye on your direction and distance from the region’s four sides if you want to avoid collisions!

Devin's Eye; Inara Pey, June 2018, on FlickrDevin’s Eye

As with Devin, Devin’s Eye offers visitors a rich environment to explore and discover and with plenty to do. Should you enjoy your visit, please consider a donation towards the region’s continued availability as a public place.

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Four unique talents at the Rose Gallery

The Rose Gallery: Sisi Biedermann

The Rose Gallery, located at Kaya Angel’s stunning Angel Manor, and curated by  Shakti Sugafield (Shakti Adored) is hosting a further ensemble art exhibition across its two floors of exhibition spaces, featuring 2D and 3D work by several SL and physical world artists.

On the ground level, in Galleries 1 and 2, Sisi Biedermann presents a series of 17 images of her physical world art, the majority of which might be drawn together under the collected title of Illusions (although several of the pieces do have a title of their own). Rich in colour, all 17 are individually stunning pieces of art.

The Rose Gallery: Sisi Biedermann

Fantastical, emotive, evocative, and each with its own story to tell, these are pieces with a glorious depth and beauty. Some are presented in a “flat” traditional style of paint on paper / canvas; others are presented in an embossed, richly textured finish that is marvellously  tactile in appearance – in this, I found myself particularly drawn to Illusions 10, a simply exquisite study of two kingfishers. Some of the images present their subject matter in a fairly straightforward study, others are more abstract in tone, which one or two have an almost Bosch-like feel about them, albeit it without his darker thoughts and representations.  Any and all of them would add grace to one’s home (and are available for sale).

The Rose Gallery: Juro

Also on the ground floor, Galleries 3 and 4 offer ten pieces by digital and virtual artist Juro (JurisJo). These are quite the most stunning studies of Second Life wildlife and animals I’ve yet seen. All feature Juro’s preferred use of yellow and red within them, together with a rich processing of sky, all of which draws the eye into each image, encouraging the visitor to focus on the primary study within it whilst also adding context and depth the overall scene.

The ten pieces presented across the two halls range from the highly evocative through to the gently humorous, the mix carefully balanced so that the eye is both awed and captivated, and the lips given cause to relax and smile. Who cannot, for example find their breath catching at the sight of White Tiger or Goodnight Sun (to name but two of the more dramatic pieces), whilst also feeling the need to offer a chuckle on seeing Baja Sands or Owls (again to name but two of the lighter pieces)? Would that we had room to display all of these pieces at home.

The Rose Gallery: Juro

Take the gallery staircase up and to the right, and you’ll arrive in Gallery 7, featuring an artist whose work is entirely new to me. Matt Thomson has 20 years experience as a physical world digital artist and photographer. His work might at first glance appear to be abstract in nature.  It’s an approach Matt calls Techno Fusion, combining traditional  mediums for art – oil, watercolour, acrylics, ink – brought together as “music”, blending and mixing like the rhythm and beat of dance track. “Let your eyes have a treat,” he says of his work. “Colour is the music as it blends it dances weaves a tapestry that allows your eyes to follow the flow … enjoy the dance!”

The Rose Gallery: Matt Thomson

The rearmost gallery space on the upper floor is given over to a display of sculptures by Reycharles Resident. Mounted on plinths and along the walls, this exhibit features some 14 3D pieces of varying sizes, although their respective LODs might require you cam into some of them in order for them to render correctly.  The pieces are richly diverse: from delicate pieces that appear almost woven together, through to sold pieces which appear to have been carved from a single block.

The Rose Gallery: Reycharles Resident

For those looking for an additional  treat, Shakti offers a small selection from her personal collection of Molly Bloom’s always fascinating and eye-catching  – and perception defying – art. This includes one of my personal favourites of Molly’s work The Queen is NOT Amused, a simply marvellous triptych.

A set of four – or five, including the modest display of Molly’s art – very different displays of art, all of which are more than worth the time taken to store through the Rose Gallery’s halls.

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Relaxing in Cape Florida in Second Life

Cape Florida Lighthouse and Park; Inara Pey, June 2018, on FlickrCape Florida Lighthouse and Park – click any image for full size

Cape Florida Lighthouse and Park is a homestead region designed by Shen Molinaro, specifically designed for people to visit, enjoy and to relax in. It offers plenty of walks, both along its sandy beaches and inland along paved paths, wooden board walks and over raised earthen trails that wind over grass and under bough. Also on the beaches and under the boughs of trees and palms, can be found places to sit or hang out along with opportunities to enjoy board games, take a bicycle ride or have a swim (look for the HUD givers as well as the rings out on the surf).

The region is somewhat modelled after the Cape Florida Light and the Bill Baggs Cape Florida State Park, at the southern end of Key Biscayne in Florida. The lighthouse has a long history, and is the oldest standing structure in Greater Miami. Today it is operated by the US Environmental Protection Agency.

Cape Florida Lighthouse and Park; Inara Pey, June 2018, on FlickrCape Florida Lighthouse and Park

I’ve no idea how well the region reflects the park, as I’ve never had the good fortune to visit the latter; but the lighthouse presents a fitting homage to its physical world namesake, and the beaches echo those from which popular photos of the lighthouse have been taken. However, accurate physical resemblance to Bill Baggs State Park isn’t important: the region stands on its own as a  place of natural SL beauty.

The beaches run along the west and north sides of the region, the northern beach becoming quite expansive before it reaches the white finger of the lighthouse topped by the black “nail” of its light. Grass grows on the undulating beaches, vying with trapped seaweed to break-up the whiteness of the sands. Rocky outcrops also break up the sands, several of which have snagged flotsam deposited by the sea during high tide; there are also numerous places to sit and watch the ebb and flow of the tide – be it on sun loungers, deck chairs or blankets.

Cape Florida Lighthouse and Park; Inara Pey, June 2018, on FlickrCape Florida Lighthouse and Park

Behind the beaches, the land rises gently – not to any great height, but enough for the sand to give way to a more solid covering of grass spread beneath the boughs of tress and palms. It is here, among the trees that the majority of the board walks and paths can be found, offering multiple routes to different destinations. The latter includes the octagonal bulk of a great greenhouse overlooking the southern coastline, the glass long gone from its heavy wooden frame, a small cabin, a partially walled terrace, a paved terrace under a triangular awning, and more besides.

To the east of the park is a tiled roof gazebo offering shade, food and refreshments, one of several decks that hug the coastline sitting below it. On one of the latter, set above the south-western tip of a beach on a rocky overlook, offers a couple of spiKKo tables for those looking to play a game. Just above one of the beaches, tucked away near the old church gate marking the way to (or from!) the paved terrace and its awning, in a chess table. A little stall can be found here as well, offering a range of fresh fruit.

Cape Florida Lighthouse and Park; Inara Pey, June 2018, on FlickrCape Florida Lighthouse and Park

The paths and board walks, with their twisting and winding and frequent intersections, help to give a feeling that the park is larger than the region on which it sits. This is further helped by the use of trees, bushes and shrubs to hide views of the coastline.

Those wishing to rez props for photography can do so by joining the region’s group. It might also be worth playing with windlight settings – I confess to flicking my viewer over to a couple sky options provided by Stevie Davos as a part of his cloud and sky series (see here for more), as I found the default windlight left me feeling a little chilly whilst exploring the region. When wandering as well, make sure you have local sounds enabled; Shen has provided a rich sound scape to fit the region and breathe further life into it.

Cape Florida Lighthouse and Park; Inara Pey, June 2018, on FlickrCape Florida Lighthouse and Park

A beautifully conceived and executed region which invites people to tarry whilst visiting.

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Gallery Mirror Amsterdam in Second Life

Gallery Mirror Amsterdam – Miles Cantelou

Now officially open is Gallery Mirror Amsterdam, a new arts venture in Second Life curated by Arete of Cyrene (AretevanCyrene). Occupying a homestead region, the facility comprises a primary gallery building of a modern design, with a second warehouse-like gallery facing it across a canal (and which current forms the landing point for the region). These sit with a region design resembling Amsterdam.

“The design is based on the place where my grandad grew up near the docks,” Arete explained during on of my visits. An artist living in Amsterdam herself, Arete hopes the region will become an SL arts community nexus. As well as the warehouse and main gallery build, the region includes a number of Dutch canal houses which will be made available for artists to hold exhibitions in addition to the main spaces.

Gallery Mirror Amsterdam

“The idea here is to let artists connect with each other and to promote art to visitors,” she continued. “”We have very talented people in SL.”

The opening exhibition at the main gallery features six of these talents:  Gitu Aura, Vallys Baxter, Miles Cantelou, Brysen Miller, Ada Resident and Cate Ansaldo (CateVogel).

The selection of these six reflects much of Arete’s thinking with the region and the exhibitions she plans to hold at Gallery Mirror. Rather than simply offering a space in which artists can display their art, Arete has sought to create and environment in which she can bring together artists whose visions and ideas reflect ones another in some way, within a space that in turn reflects the work of the artists.

“Miles was the first artist I invited. His acceptance led me to invite the others Arete explained. “Thematically, they work together.” As well as these six, she has been putting together a calendar, and now has commitments from artists through into 2019.

As an artist in both the physical world and SL, Arete sees her work as a curator as very much working in partnership with the artists she invites to Gallery Mirror. She provides advice and feedback on themes, the placement of images in the various display spaces within the gallery, and so on.

Gallery Mirror Amsterdam – Cate Ansaldo (CATEvogel)

The care put into Gallery Mirror is also shown in the fact that the region itself took four months to develop, including preparations for the opening exhibition.  Arete described her approach to the design thus, “I’ve designed the whole region with the thought of creative display. Art must flow; it needs air and open space so that the observer can experience the full impact of the works on display.” In this, the Amsterdam style setting offers the opportunity to display 3D art out on the waters of the canal and docks – something Arete has already taken into consideration.

The main gallery building is well-appointed in this regard. Three storeys in height, is offers large rooms with plenty of open space and good lighting in which visiting artists can display their work. It can support up to six artists at a time: two on the ground floor, which includes a lobby area with a lounge / bar area behind it. For the first exhibition, these  feature the art of Cate Vogel and Gitu Aura. On the mezzanine above is a large open area, superbly displaying Miles’ art. A second room (still awaiting the artist at the times of my visits) sits at the front of this level.

Gallery Mirror Amsterdam – Brysen Miller

The upper floor features the final two exhibition spaces – these occupied by Brysen Miller and Vallys Baxter – together with a social space. The latter was intended to be used for music events such as openings, but Arete informed me she’s now rented a parcel on another region which she plans to use for social engagements, so that the music doesn’t interrupt people’s appreciation of the art on display in the gallery.

Arete further brings the gallery to life through the use of sculptures – notably by CioTToLiNa Xue and Mistero Hifeng -, together with smaller pieces of 2D art she has selected.

Gallery Mirror Amsterdam – Vallys Baxter

Exhibitions are planned for periods of two months at a time. “I’m now working with artists on a ‘couples’ exhibition for August / September,” Arete told me.

When visiting the region, don’t confine yourself to the gallery spaces – as noted above, the surrounding dutch canal houses are available to artists, and while she is far too modest to point to it herself, I would recommend visiting the house alongside the warehouse gallery, as Arete has a small exhibition of her work on display. Also, there are 3D art to be found out on the waters already.

Gallery Mirror Amsterdam – Gitu Aura

Gallery Mirror represents a genuine commitment to support art in Second Life, and the opening event brings together six artists of unique talent in an absorbing exhibition. It is definitely not an exhibition to be missed, and this is very definitely a venue worth keeping an eye on. When visiting, please do set aside time to fully appreciate it and also, do consider making a donation towards the region’s continued existence.

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