I often discuss the idea of narrative in images when review art in these pages. Not every picture has to tell a tale beyond itself, but for me, depth is added when it does; when the image before you becomes a glimpse caught in time of a far broader canvas, inviting the imagination into it and consider all that might lie beyond the window we see.
When it comes to the art of Cybele Moon (Hana Hoobinoo), we are given not so much a window into a narrative, but a doorway into entire realms. Her work is, in a word ethereal; there is a beauty and depth to it which is magnificently and hauntingly moving – and you can can witness this for yourself at the meadow art area in Commune Utopia, where she has been invited to exhibit her work. She presents 15 pieces (16 if you count her enchanting bio giver) and as always, all are truly marvellous pieces. To enjoy them to the fullest, be sure to set your time of day to midnight.
Cybele’s Second Life work is a reflection of her photography in the physical world, where she captures landscapes – sometimes using an infra-red camera – and produces mythical scenes of extraordinary depth and life. Many of the pieces she displays in-world combine the physical and virtual worlds to create wonderfully layered pictures which – as noted – are richly narrative in nature.
Her muse for her work is a combination of history and myth – some of her work is inspired by Celtic and Icelandic mythology, for example, and other pieces are inspired by her own travels in north Africa and Central America. She describes her work as constantly evolving, and one of the attractions of the Commune Utopia exhibition is the breadth of her work on display – composites, colour and monochrome all share the space, offering the visitor a marvellous view into the various forms her worlds can take.
The will be an opening event for Cybele’s exhibition at Commune Utopia at 12:00 noon on Saturday, July 22nd in the art meadow. Also, no visit to Cybele’s work is every complete without also visiting her websites. In Runes of the Gatekeeper’s Daughter, she presents tales and photographs inspired by her travels. Meanwhile, Virtually Yours presents her images from, and musings on, virtual worlds.
Commonwealth Village is a Mainland located Community themed on the looks and climate of New England. Developed by Derek Boston, it offers residential rentals, village shopping and an expanding arts and music programme.
Built around a central square without outlying rental residences all in a New England style, the communal heart of the community is a tavern-side meadow where live music events are held, together with open mic sessions. Friday July 14th will see Nikita Mortenwold performing on the stage from 14:00 SLT, followed by Ian Bleac at 15:00 SLT.
Also opening at 14:00 SLT on Friday 14th July is a new art exhibition at the Commonwealth Village. An open-air event being held on the paved piazza in front of the village’s imposing pavilion, I’m quite delighted and honoured to say that the display is of work by …. me!
It was a genuine surprise and pleasure to receive an invitation from Derek to display images from my Exploring Second Life series of blog posts in these pages, particularly as art is one of the newest additions to the Commonwealth’s event calendar. I was equally delighted to be able to chat with Derek in June in my role as a gallery space curator to discuss art exhibitions in SL.
For the exhibition, I’m offering some 16 images from some of the more recent travels Caitlyn and I have made across the grid, and I hope people will find them pleasing. I’d also like to offer an open invitation to anyone do minded to join us at the Commonwealth Village for the music and the opening from 14:00 SLT on Friday, July 14th.
Updated, September 4th: As per the comment below, Ash Falls now requires the payment of a group joining fee in order to access the region.
Ash Falls is a homestead region build by Leaf and Birdy Moone, and it is an absolute delight to visit. Softly lit by the last rays of a lowering Sun, setting slowly to the south, such is the sheer beauty of the region it deserves to be seen both under its natural windlight (Bryn Oh’s Mayfly) and something a with a little more daylight.
A v-shaped island facing the south-east, cradles a broad, flat beach within its rocky, wooded arms. But this is not the familiar sandy beach so often seen throughout Second Life; it is a cinder beach, the sand dark and course, suggestive of having been created over the ages from the aftermath of many volcanic eruptions. Behind it to the north and east, the rugged backbone of the island offers paths and tracks to be followed, shaded cuddle nooks to be found – and more besides.
The landing point sits at the end of the northern arm of the island’s rocky V, a stone terrace of some age, with walls partially bracketing it on two sides. A short walk from here in the evening’s light, are wrought iron gates offering access to a broader terrace, complete with parasolled seating, quiet water features and a splashing fountain.
A grassy avenue points the way eastwards, lit by tall lamps and bordered by thick bushes. A set of wooden steps just to the right at the start of this path presents a way down to the beach, while the end of the trail is marked by a wooden platform overlooking a deep, square quarry, long disused and now semi-flooded. Water drops free and clear from falls to one side of this square basin, while lanterns drift and turn on eddies of air, floating over another platform built over the waters of the quarry.
A coffee-house sits at the edge of the small inlet cutting into the beach, straddling sand and the gentle wash of the tide. It offers seating inside and out, and is watched over by cuddle spots further up the beach towards the rocky uplands. Head east along the beach, and you’ll pass a narrow opening cut through the rocks providing access to the old quarry. Not far from this is a slope leading up to an old shack and barn, perhaps once associated with the quarry, but now evidently a home to someone. Follow a grass path between tall fir trees from here, and you’ll discover another snuggle spot and steps leading down to a little cove caught in a very localised rain storm!
Further around the beach, east of the slope leading to the old shack, are wooden steps offering the way up to another path. This runs up between a line of rock on one side and a high-banked slope on the other to where a much grander house sits upon the eastern headland. Both this house and the shack are open to the public to explore, and a further trail curls away from the area in front of the house, leading the way to a cosy outdoor theatre, surrounded by trees and bushes.
Ash Falls is a beautifully scenic setting, perfect for photography, exploration, and simply wandering / sitting. It’s perfect for a getaway, and ideal for resting the mind.
I was stunned to realise that it has been almost four years since I last visited Collins Land, the home of Cerys Collins (Cerys Celestalis). In fact, it has been so long that in the intervening time, Cerys has moved from at Homestead to a Full region. The current build has been in progress since May 2017, with Cerys noting it is now “95% complete”. Having learned of the Japanese-themed redesign by way of my favourite region hunters, Shakespeare and Max, Caitlyn and I had to leap over and have an explore.
Following the region landmark will deliver you to a shaded spot south and west of the region’s centre, and the grounds of a large traditional Japanese house, built over the cooling influence of a large pond. The latter is an indication that water plays a subtle but important role within the region – keep an eye out for how Cerys makes use of it throughout. The house is situated to one side of tiered gardens and grounds, all of which tend to form a good starting point for explorations.
Wooden paths wind and fork their way through the grounds, offering a number of points of entry into the house as well as leading to other points of interest. Follow these board walks with care: just when you think you’ve found them all, the likelihood is you’ll find another leading you to a little scene, a part of the whole whilst also feeling entirely secluded. One route, for example, leads way to a little shaded summer-house to the south overlooking a beach; another route offers access to another little group of buildings in the south-west corner of the island, where a Koi house sits over another pool of water.
Close to the landing point lay stone steps climbing up into the region’s highlands. These are, like a number of the major paths around and through the region, marked by a torii gate. The steps wind their way up to a high plateau, where sits a Buddhist shrine protected by a moat and walls. Along the way, you’ll pass through bamboo groves and past a Machiya house. As well as offering a break from the climb, the gardens of the house offer a view west and north, emphasising the verdant nature of the region.
The shrine isn’t the highest point on the island, however. That honour goes to the pagoda in whose shadow it might sometimes sit. This pagoda can be reached by scrambling over the rocks, but there is a fabulous climb via wooden walkways which winds its way up the side of the cliffs, after also starting from the gardens of the landing point. This route – its start denoted by another of the torii gates – should not be missed, and offers more views out over the surrounding mountains.
On the north side of the region, sitting under the massif, is a small village, reach by following yet another wooden footpath running northwards from the main house near the landing point and along the west side of the region – watch for the pleasing little detours off of this again along the way. This path gently climbs down the rocky shoulder of the island to reach the village by way of a bridge separating another inland pool from the waters surrounding the region. Built over cobbles and stones, the village appears to be devoted to farming and fishing, and visitors are welcome to try their hand at Greedy, Greedy if they so wish.
The lowlands of the northern village are matched by the beach to the south, once again reached by steps leading down from the gardens and house at the landing point. Follow the stepping-stones here and you’ll uncover one of the region’s secrets. As noted, there are others awaiting discovery, as is a hidden place – although I’m not 100% certain that is intended to be open to the public.
I really cannot over-emphasize the beauty of this iteration of Collins Land. The colours are rich and vibrant, the landscaping beautifully and painstakingly done, the beauty spots numerous, the hidden places intimate, the use of space exquisite – as is the way the paths and climbs naturally follow the contours of the land. Keep an eye out for the little touches of humour to be found dotted about in the ground in the water. This humour offers a nod to the fact the work is still ongoing: a group of artisans working (and resting!) as they ready the final bits…
All told, an absolutely gem of a region – as is always the case with Cery’s designs. Click the image below and scroll around the landing point in 360o. If you’re a Flickr user and take shots of the region, please consider sharing them with the Collins Land Flickr group.
Karma Avedon sent me an invitation to visit her full region installation, One Tree Hill which is – although still in part a work-in-progress – now open for visitors. “[It’s] my first ever work for the LEA and I am very excited both to have had my idea accepted and to have managed to actually bring it to fruition,” she told me prior to Caitlyn and I paying a visit.
The installation is a virtual reflection of U2’s seminal album The Joshua Tree, which celebrated the 30th anniversary of its release in March 2017. The album grew from a mix of influences – social, political, spiritual, and cultural. It was released in a period of history which we see echoed somewhat today, with economics dominating the politics of the UK (U2’s home) and America; global small-scale conflicts; the changing face of traditional industries – notably coal mining; etc.
All of this, including the influences behind many of the songs contained within the album are reflected within One Tree Hill. Some of these references are obvious, others are more subtle or layered. Also to be found are reflections on the band’s contrasting views between “real America” and “mythological America”, and reminders that the UK and the USA have much in common.
A journey begins Where the Streets Have No Name, a flat desert-like environment cut by broad, nameless roads, stretching away to the horizon, a great mesa rising to one side. Much of this contains images of the American mythos: great flat desert plains, broad, ruler-straight roads arrowing to the horizon, billboards (which carry some of the more overt political references for both the 1980s and today), and a reminder of the former importance of coal in building both the UK and USA.
Where one travels through this landscape is a matter of choice. Follow the single south pointing road, and you’ll pass a row of bonnet-buried Cadillacs – a reference to Cadillac Ranch, and emblematic of the American mythos. Close by, on the other side of the road visitors can reflect on being With Or Without You; the internal struggle of the song (to be a husband at home or a rock star on tour) powerfully represented by the statue of a couple caught in the tension of a tango – and a dance orb allows visitors to engage in a dance as well.
Staying on the lowland area, where Joshua trees via with umbrella thorns to offer some greenery, and travelling south, one will eventually come to a large gallery space (still under construction) and references to Bono’s time in South America. The latter represents both Bullet the Blue Sky and Mothers of the Disappeared in a rain-soaked corner. The latter of these also perhaps contains modern-day references: the three distressed mothers all being clad in burqa-like garments, whilst the boards set on the chain link fence appear to be in reference to more recent conflicts.
Atop the mesa and reached via an ascending set of wooden platforms, sits a literal representation of Red Hill Mining Town literally sits, offering another layered interpretation of the period. The song itself was written around the unfolding political upheavals impacting Britain’s coaling communities in the mid-1980s, and in particular the 1984 Miner’s Strike; however, the town is very clearly American in setting. Thus, a parallel is drawn between the decline in the importance of domestic coal witnessed in both the United States and the UK – for largely the same economic reasons – during the 1980s. A further layer is perhaps added as well, in that the embodying Red Hill Mining Town as a run-down American township might be seen as a metaphor for the band’s own conflicted views of the “real” (declining traditional industries), and “mythological” (land of golden opportunities) United States.
Within this town are further references to both The Joshua Tree with I Still Haven’t Found What I’m Looking For, featured appropriately enough within a church; and to U2’s own history in the form of the STS Studios, where many of the group’s songs (including some from The Joshua Tree, but notably the likes of Rattle and Hum) originated / were recorded. Standing over all of this, and reach by another set of wooden steps, is One Tree Hill, written in reflection of a 1984 visit to Maungakiekie, a volcanic peak in New Zealand, and one of the most spiritually significant to Māori people. As with it’s namesake, Karma’s One Tree Hill is a place of reflection and peace.
One Tree Hill is a fascinating, layered installation, one which should be explored carefully, allowing for reflections on U2’s album and music and the imagery presented within the build. Do be sure to have ambient sounds active when visiting and – if you’re a U2 fan, try the music stream as well. I’ve also not referenced all the tracks on the album – others are to be found, but I’ll leave you to find them (hint: look indoors for at least one), as that’ll leave you some mystery as well 🙂 .
Riflessi Sul Nero (“Reflected On Black”) is the title of the latest installation by Italian artist Terrygold, which is now open to the public at Solo Arte. It comprises a series of around 15 large format avatar studies, all set out within the setting of an old mine works visitors must explore.
On arrival, visitors should be sure to set their viewers in accordance with the local instructions – accept the local windlight, then ensure Advanced Lighting Model (ALM) is set via Preferences > Graphics and, if your system can handle them, enable shadows (a little is lost in terms of general ambience by not having shadows active, but not enough to spoil the installation). Once set, follow the tracks down into the mine.
Within the tunnels and vaults of the mine can be found Terrygold’s self-portraits, and the reason for the title . Rather than being in her usual alabaster skin, she is using an ebony skin for the portraits – so she is literally a reflection (image) of herself in black. Presented in a large format, these are to be found spaced along the tunnel walls and within the side room and chamber opening off of the main horizontal shaft as it slopes and twists gently downwards.
The mine itself is superbly done – testament again to Terrygold’s skills as a designer. Beautifully lit and atmospheric, it gives a very real impression of going underground. The lighting is extremely well done (again, just make sure you have ALM enabled), while shadows further add to the ambience.
The setting might also be a play on words, working on a number of levels. Gold is often mined, and we have Terry’s full name – Terrygold, so we are literally entering a mine to discover the gold of her images. Coal is also mined, and this is a celebration of an ebony look, so again there could be a thematic tie. Finally – and as Caitlyn pointed out, there is the reference to black gold used in jewellery. Just as the latter can be produced by a variety of means, including eletroplating, which sees the gold coated with black rhodium or ruthenium, so Terrygold has coated herself in an ebony covering to produce these images.
My one minor quibble with the installation is that the lighting does in places work against the images; in places it can be a struggle to fully appreciate them. Nevertheless, this is an intriguing and interesting installation to visit.
Inara Pey: Living in a Modemworld 