Category: Reviews

Three into on at DiXmiX for April and May

Posted on by Inara Pey
DiXmiX Gallery: Oyo

DiXmiX Gallery, curated by Dixmix Source, is currently hosting three exhibitions side-by-side by Second Life artists, all of which opened in April and run through (at least in part) to May. As is always the case with this gallery, the exhibitions are both intriguing and a little frustrating.

First up, and in the foyer area of the Grey Gallery, is I’m a Magic Marker (SquarePegRoundHole69), an artist to whom I was introduced – or her work at least – by Sorcha Tyles. “For me, Second Life is a way to escape into a novel that you write yourself, but with me, the story is generally without a plot,” Magic said at the time of her exhibition at Sorcha’s gallery. “Some images are cathartic, some are just because I like to look at pretty things.”

DiXmiX Gallery: Magic Marker

It’s a point of view that can be applied to the twelve images offered at DiXmiX. Quirky, eye-catching and often featuring bold colours which demand our attention, they present attention-grabbing avatar studies (with a little nudity in places). Some might appear to be straight-forward almost studio style photos (such as “#1” and “#7”); others offer that opening to a story mentioned in passing by Magic, while some evoke echoes of art and artistry from other sources – notably #5 and the wonderfully eye-catching #3 with its hint of a Jackson pollack influence.

Adjoining this in the ground floor Black Gallery is Blanc by Oyo, a series of fourteen quite striking studies, largely of avatars, but also featuring landscapes, in which white – and the title might suggest – plays something of a role almost throughout. Again untitled, given only a number, these are attention-holding studies which although free from narrative, instantly draw one into them each in turn. There is a vibrancy and life within each, beautifully encapsulated in their largely muted tones.

DiXmiX Gallery: Oyo

Most of the images stand as individual pieces, each to be appreciated in its own right. the exceptions to this are “IV”, “V” and “VI” which form an impressive triptych-like trio of images (above),  each on standing as an individual piece, but all three combine perfectly together to form a single and evocative whole; a glimpse of a vacation or favourite coastal place caught in the mind’s eye.

On the upper floor of the gallery, in the White Gallery space, is 12 Photographers and 1 Chair, by Mr. S. As the name implies, this is a set of twelve studies of Second Life photographers – all of them male, and welcome in an age where the camera is still often preoccupied with studies of the female form – seated in an armchair and presented with a glimpse of their own work as a backdrop.

DiXmiX Gallery: Mr. S

Caught in the same lighting, the 12 artists, Yann Whoa, Aran M., Skippy Beresford, Dixmix Source, Terry Fotherington, Gaus, Burk Bode, SL Senna, Moon Edenbaum, Oscar Sabra, Vrir Resident and Serene Footman, all make for intriguing studies; although I did find that in a couple of the images, the supporting “background” image tended to draw my eyes away from the main subject perhaps a little too much. Nevertheless, these are striking studies, and with several, I couldn’t help but feel Mr. S had caught not only the look, but the very essence of his subjects through both their portrait and the selected supporting image.

My frustration, such as it is, lies again with the lack of liner notes accompanying this three exhibitions. With 12 Photographers and 1 Chair in particular, it would have been interesting to get Mr. S’s perspective on his images, and perhaps those of some of his subjects. This (usual) quibble aside, all three exhibits are well worth a visit.

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Out of Here in Second Life

Posted on by Inara Pey
Nitroglobus Roof Gallery: Out of Here

“My images don’t have a bar code, from time to time they scream. Today is the first day of peace though,” Nevereux notes in her Preview to Out of Here Nitroglobus Roof Gallery, an exhibition of her work now on display at , curated by Dido Haas. An evocative artist whom I’ve admired through these pages on a number of occasions,  Nevereux offers sixteen images which, as show notes in a mere general introduction to the exhibition, form something of a reflective, emotional journey.

“Out of here is despair converted into media with intrinsic meaning and no pretenses,” she sates, “… it’s a spiritual thing, the individual perception of feelings after breakup. We seek in our beliefs sensory encounters, something beyond the words uttered. The words may reverberate subtlety, but the raw feelings, truth, irony and an imaginative point of view wrestle us each moment to create image after image.”

Nitroglobus Roof Gallery: Out of Here

And so we are presented with images of raw emotional depth, each one presenting not a narrative or idea, but a feeling; a response; a desire. All but one are really presented as standalone moments; flashes of an emotional state, a state with which, in all likelihood we can each identify. The exception is Adieux. Beta version, seen at the end of this piece, which conveys emotions through words as well as by image.

Love and loss obviously result in darker feelings – emptiness, loneliness, despair, hurt, and so on. This is certainly the case with the majority of the pieces offered here – but that shouldn’t be taken to mean these are in any way bleak images. Entirely the reverse, in fact. As noted above, these are images that are powerfully and evocatively familiar in their interpretation; so much so that rather than sinking us into bleaker thoughts, they offer a journey – possibly cathartic – through feelings and responses. Some may even offer more than one potential interpretation.

Nitroglobus Roof Gallery: Out of Here

Take Every Song Is A Lament (above, left), for example. Clearly, the title reflects how songs can feel to us when a relationship ends;  that sense of loss, not just of love and companionship – but also a of oneself. This is beautifully framed by the image itself – a body partially dissolved into a trail of feathers leading to an escaping bird. But so to, is there an alternative here: that need to escape; a wish not to feel the hurt and upset evoked by song, and to simply escape.

Similarly, and alongside of Every Song Is A Lament, is Going from Belonging 2 B Longing. Again, the title and the image perfectly convey the idea that there comes a time when a relationship ends – for whatever reason – when we a deeply aware of that shift in state: for a couple (or family) or an individual; we feel more a shadow than a presence. But again, perhaps, there is an alternative metaphor here: when a relationship ends, we are often surrounded by support; and as well-meaning as that support might be, we nevertheless feel apart from it, rather than a part of it. We simply want to fade away and escape it all.

Nitroglobus Roof Gallery: Out of Here

An open display of images reflecting inner thoughts and feelings, Out of Here is an expressive exhibition, one not to be missed.

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Salar de Uyuni in Second Life

Posted on by Inara Pey
Maison de L’amitie: Salar de Uyuni

Update September 2019: Maison de L’amitie has relocated.

Maison de L’amitie, the Homestead region held by Corina Wonder, is generally associated with beautiful landscapes such as this 2017 coastal setting. So I was a little surprised when good friend (and region discoverer) Shakespeare, sent me a slightly cryptic IM suggesting I go take a look. Intrigued, I hopped over – and surprised by what I found.

Sitting on an endless, plain sit two Jeeps, one of which is occupied by a Labrador dog. Overhead is a blue sky under which fluffy clouds are passing, reflected in the shallow waters covering the plain – and that is all there is. I was initially mystified until I read the About Land description: Inspired by Salar de Uyuni.

Maison de L’amitie: Salar de Uyuni

Located in the Daniel Campos Province, in south-west Bolivia, Salar de Uyuni is the world’s largest salt flat, covering an area of some 10,582 square km (4,086 sq mi), sitting at an elevation of 3,656 m (11,995 ft) above sea level. It was formed as a result of the evaporation of prehistoric lakes.

Despite its extreme size, and with the exception of Isla Incahuasi located in the centre of the flats, the elevation within the region varies by under one metre (3.3 ft) across its entire area. This, coupled with the shallow covering it during the winter months, have led to Salar de Uyuni being referred to as the “world’s largest mirror”, and is frequently the subject of photographs that (if you’ll pardon the pun) reflect this fact – as seen below.

Salar de Uyuni. Credit: Takashi Nakagawa

It is in celebration of such images that Maison de l’amitie has been made over: a near-perfect flat expanse over which hangs a perfect sky, the two Jeeps emphasising the mirror-like finish. It’s a simple, elegant setting which, after the initial surprise of its bareness, can captivate. However, in order to full appreciate it, do make sure that you hop into you viewer’s preferences and go to Graphics > (Advanced) and make sure the Water Reflections option is set to Everything.

Another thing Salar de Uyuni is famous for is humorous forced perspective photographs, such as the one shown below, by Danish traveller Miriam. It would be interesting to see if Second Life users can use Maison de L’amitie’s tribute to the region in a similar manner.

Salar de Uyuni via Adventurous Miriam

Despite its apparent harshness, Salar de Uyuni is an extraordinary place – potentially one ripe for features to be added to Maison de L’amitie – although adding too many could spoil the impact. The salt flats are, for example, a major breeding ground for several species of flamingos; whilst located close to their expanse is the train cemetery, recalling the time when trains used to haul minerals from the region to the Pacific coast ports.

A uniquely curious setting, one that has can exercise a strange draw on the eye.

Maison de L’amitie: Salar de Uyuni

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2018 Raglan Shire Artwalk: call to artists

Posted on by Inara Pey
Raglan Shire Artwalk 2017: Utterly Wizardly

The Raglan Shire Artwalk is one of the staples of the SL art calendar, and for 2018, it will take place between Sunday, May 13th and Sunday, June 17th, inclusive.

Every year over 100 artists and residents in Second Life display 2D and 3D art across a number of exhibition spaces across all the regions of the Raglan Shire cluster. 2D art is displayed on hedgerows in and around the regions, offering visitors the chance to view pieces as they explore the Shire, while sculptures and 3D art is displayed in a number of designated areas across the regions.

Those wishing to exhibit their work at the 2018 Artwalk are invited to complete the  Artist Registration Form, which should be submitted for inclusion no later than 21:00 SLT on Sunday May 6th, 2018.

General requirements for entry:

  • The event is a non-juried show
  • Artists can display more than one piece if they wish
    • 2D (“flat” art pieces will be awarded a maximum of 15 prims, and individual pictures should be 1 prim, including the frame.
    • 3D art (sculptures, etc.), will be awarded a maximum of 500 prims for up to three pieces of work. Artists are requested to state the number of prims per piece in their application.
    • Sales of art are allowed.
  • Types of art supported by the show are: representations of RL photography, painting, drawing, printmaking, collage, and digital fine art that can be displayed on a prim;  and SL photography, manipulated SL photography and SL sculpture.
  • Pictures of RL crafts, such as beadwork, leatherwork, etc., are not part of the show’s  definition
  • All the above art forms are welcome, but should be rated PG / G – so no nudity, please!
  • Group membership will be required in order to display work
  • Questions and enquiries should be forwarded via note card to Artwalk Director Karmagirl Avro, or Artwalk Assistants Kayak Kuu & Shadow Marlin.

Details on set-up will be sent to participating artists on Tuesday, May 8th, 2018. Step-up commences at 09:00 SLT on Friday, May 11th and runs through Saturday, May 12th. Note that space along the hedgerows in Raglan Shire for 2D art is NOT assigned, but can be taken on the basis of first come first serve. Certain areas of Heron Shire will be designated for sculpture set up and available locations set with a marker.

Key Dates

  • Sunday May 6th: Applications close at 21:00 SLT
  • Tuesday, May 8th: Notification of exhibit space location issued to artists
  • Friday, May 11th / Saturday May 12th: Artist set-up days
  • Sunday, May 13th: ARTWALK OPENS
  • Sunday, June 17th: Artwalk closes
  • Sunday, June 17th (after 18:00 SLT) through Tuesday, June 19th: Takedown of works.

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Spring and romance at Luane’s World in Second Life

Posted on by Inara Pey

Luane's World; Inara Pey, April 2018, on FlickrLuane’s World – click any image for full size

It’s been two years since I first visited Luane Meo’s Luane’s World and some fifteen months since a last visit to the neighbouring Luane’s Magical World – so a re-visit to both was long overdue.

Luane’s World, home to Luane’s store of the same name, tends to change with the seasons, offering visitors something new to see as each year progresses. At the time of our April visit, the region was sporting a springtime look, rich in greens on boughs and underfoot, with just a hint of summer blossoms to be seen and flowers blooming in the grass. A visit begins (as always) at the store, located in the north-east corner of the region.

Luane's World; Inara Pey, April 2018, on FlickrLuane’s World – click any image for full size

From here, three paths mark possible routes of exploration. Two, marked by stepping-stones, lead the way south and east and south and west, respectively offering routes to  Luane’s Magical World or out into Luane’s World itself. A third dirt-topped paths bends north-east, leading to Luane’s World – Live the Dream, a third Homestead operated and designed by Luane. However, as this is largely private rental properties (enquiries to Luane), we opted to respect people’s privacy and keep out, despite the public paths leading partway around the region.

The path point south-west into Luane’s World leads you along the banks of the waterway which cuts between the region and Luane’s Magical World from the south, feeding into a large hearted-shaped pool of water sitting at the centre of the region.  The path circles this pond, carrying itself over the little channel feeding it to offer the way to an old windmill on one side, and the way past a cosy little café to where it branches, leading the way past a tree house to a beach that curves around the north and west of the region.  Above the beach to the west, the land rises a little, providing space for an old fort, watched over by a lighthouse sitting just off the coast.

Luane's World; Inara Pey, April 2018, on FlickrLuane’s World – click any image for full size

Throughout the region are plenty of places to sit, cuddle and relax – such as the little cottage on the little southern island or scattered across the beach.

Across the water to the east, reached by either stepping-stones or a wooden bridge, is Luane’s Magical World. Hidden by a veil of mist, this is definitely a place for lovers and romance. Frosted tree a spread across waters frozen in time. In this, it remains similar to the first time we visited in December 2016. However, beneath the boughs, the environment has changed – most obviously in the frozen water replacing the snows.

Luane's World; Inara Pey, April 2018, on FlickrLuane’s Magical World

There is no set path through this region, it’s a place to wander and let go of time – although fallen leaves suggest footpaths to follow. Lights glow from the frozen trunks and branches, whilst waiting to be found throughout the region are places to sit and cuddle. These range from an old greenhouse to beds under nets to a hanging chair suspended from a leaf and watched over by unicorns, to a tent guarded by albino elephants.

Elsewhere, under a table of rock at the northern end of the region there are tunnels and caverns awaiting exploration, while those seeking a celebratory meal will find it in an old gazebo, or if a romantic dance is preferred, the impressive ruins of a Gothic chapel offers a stone flagged floor and dance machine.

Luane's World; Inara Pey, April 2018, on FlickrLuane’s Magical World

Luane’s World and Luane’s Magical World can be visited individually or together, depending on your mood. Both offer plenty of opportunities to share time together, and both are beautifully designed (as always) by Luane, and make for memorable visits. Should you take photos during your visit, consider adding them to the Luane’s World Flickr group.

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Of Martin Luther King and Hindu temples in Second Life

Posted on by Inara Pey
Martin Luther King

April 4th, 2018, marked the 50th anniversary of the assassination of Doctor Martin Luther King Jr. To commemorate this, and more particularly his work advancing civil rights through non-violence and civil disobedience, Adams Dubrovna has put together an exhibit entitled Martin Luther King, which is now on display at the Museum of Sacred and Narrative Art.

Across 32 display panels, Adams traces key points in Dr. King’s life, starting with an examination of his education, and concluding with his final public appearance  on April 3rd, 1968 at the Mason Temple (Church of God in Christ Headquarters), at which he gave his famous “I’ve Been to the Mountaintop” address.

Martin Luther King

In 1954 Dr. King became pastor of the Dexter Baptist church in Montgomery, Alabama. In March 1955, Claudette Colvin – a fifteen-year-old black schoolgirl in Montgomery – refused to give up her bus seat to a white man in violation of Jim Crow laws, local laws in the Southern United States that enforced racial segregation. King was on the committee for the Birmingham African-American community that looked into the case – but a decision was made not to pursue it, as it involved a minor.

Then, in December that year, Rosa Parks also refused to give up her seat, and was arrested for “civil disobedience”. The NAACP, working through their local chapter president Edgar Nixon, saw Parks as the best candidate for seeing through a court challenge on the matter of segregation, and she so and Dr. King become central figures in the American civil rights movement, starting with the Montgomery bus boycott.

Martin Luther King

This – together with the bombing of King’s home on January 27th, 1956 (he was preaching at the time) and his own arrest (the first of many) – mark the starting point for the exhibition tracing his civil rights activism.  The panels the trace the key moments in his life and the civil rights movement in chronological order, many of them using Dr. King’s own words. These include the Albany Movement, the Birmingham campaign, the 1963 march on Washington DC,  and the 1965 Selma to Montgomery marches.

Also marked is the King’s place on the international stage (through a look at their visit to India in 1959 and his opposition to the Việt Nam war). Many of the panels include Dr. King’s own words, making them particularly poignant, particularly the excerpt of his April 3rd, 1968 address at the Mason Temple. This reads as prophetic in light of the events that followed on April 4th, 1968. Wisely, the exhibition doesn’t unduly dwell on Dr. King’s death at the hand of James Earl Ray, but rather passes on to some of the monuments erected in his memory in the United States.

Ellora Caves Exhibit

On the floor above Martin Luther King is an exhibition of images and plans of the Ellora caves, one of the largest rock-cut monastery-temple cave complexes in the world, and a UNESCO World Heritage Site. Located in the Aurangabad district of Maharashtra, India. It features Buddhist, Hindu and Jain monuments, and artwork, dating from the 600-1000 CE period.

The exhibition focuses on the latter two: Hindu and Jain temples and art, referred to as caves 13–29 and caves 30–34, respectively. It’s something of a mixed media exhibit, featuring photographs, slide shows and information boards / givers. The Hindu caves form the first part of the exhibit located at the top of the steps from the Martin Luther Exhibition. It is centre on a pair of large format photographs of the Kailasa Temple.

Ellora Caves Exhibit

There is a route around this display – commencing with the early Hindu period, then the Kailasa Temple images, complete with floor plans, and on through the Jian caves and art. The information note cards provide a fair amount of information, although the information buttons on the slide shows might be a little confusing – they provide a landmark to the in-world store for the slide show panels rather than information on the images they display.

For those looking for an exhibition or two with a historical lean, Martin Luther King and the Ellora Caves display could be well worth a visit. The former nicely compacts Dr. King’s life into an easily digestible presentation and avoids reading as preaching. The Ellora Caves display offers some excellent images of the caves, art and temple ruins, although it would be nice to have some form of credit offered for them – even if they are from the exhibitor’s own collection – would add a little more depth for those wishing to do further reading.

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