An oriental Collins Land in Second Life

Collins Land, Collins Land; Inara Pey, June 2017, on Flickr Collins Land – click any image for full size

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.

Collins Land, Collins Land; Inara Pey, June 2017, on Flickr Collins Land

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.

Collins Land, Collins Land; Inara Pey, June 2017, on Flickr Collins Land

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.

Collins Land, Collins Land; Inara Pey, June 2017, on Flickr Collins Land

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.

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One Tree Hill in Second Life

One Tree Hill

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.

One Tree Hill: With Or Without You

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.

One Tree Hill

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.

One Tree Hill: Red Hill Mining Town

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: Mothers of the Disappeared

 

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 🙂 .

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Reflected on Black in Second Life

Riflessi Sul Nero

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.

Riflessi Sul Nero

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.

Riflessi Sul Nero

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.

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Gale Storm Retreat in Second Life

Gale Storm Retreat, Aphrodisia Isle; Inara Pey, June 2017, on Flickr Gale Storm Retreat – click any image for full size

Gale Storm Retreat is a Homestead region designed by Chania Leuce (CheekiChica). It adjoins the full region of Aphrodisia, home to Chania’s store and which, at the time of writing, is listed as “under construction. The landing point sits at the northern end of Gale Storm Retreat, serving both regions; a gated path leads up to Aphrodisia, while wooden signs point the way to the more open areas of Gale Storm Retreat.

As the descriptions for the region found in the Destination Guide and in About Land state, this is a remote location, modelled after the US Pacific North-west, where a storm is brewing just off the coast. In fact, the rain has already made landfall – so you might want a brolly and raincoat when visiting!

Gale Storm Retreat, Aphrodisia Isle; Inara Pey, June 2017, on Flickr Gale Storm Retreat

Follow the signs east and south from the landing point, and you’ll pass under a great stone arch, watched over by a wooden windmill, and you’ll find yourself on a high plateau which quickly drops away to the south and west to a sandy coast, where the tide appears to be on the rise. To the east, the land falls sharply away as cliffs, their edge guarded by rocky walls and slender fences.

Walk beneath the line of these eastern rocky walls- avoiding a slim finger pointing inland  – and you’ll find your way southward past a large stone patio with pool and tiled roof, the latter protecting a fire offering warmth and respite from the rain,  and down to a  rocky headland where the revolving eye of a lighthouse watches over land and sea.

Gale Storm Retreat, Aphrodisia Isle; Inara Pey, June 2017, on Flickr Gale Storm Retreat

Below the lighthouse lay the beach and sandbars of the coast, straddled in part by wooden houses raised on stout wooden piles to avoid the ravages of a returning tide. Huts and tents sit further in from the sea, huddled on the sands above the high tide mark, but still looking vulnerable as rain lashes down and lightening forks and flashes its way across the sky.

Further to the west and north, above the lie of the beach, but lower than the main plateau, sits a grassy bluff, home to a stone and wood cottage with smoke rising invitingly from its tall chimney, suggesting another place where shelter from the rain can be found. The cottage sits close to another line of cliffs to the north and which march back eastwards, part of the divide between the coast and the town on the neighbouring region. And old shipping container, converted into a hideaway, sits within the shadow of the cliffs, watched over by the weeping willows lining their narrow tops.

Gale Storm Retreat, Aphrodisia Isle; Inara Pey, June 2017, on Flickr Gale Storm Retreat

This is an atmospheric region, designed for photography and which lovers of the sea and the rain will enjoy. There are plenty of places scattered across the landscape for couple to enjoy, indoors and out – including in at least one of the tree houses. A group joining fee of L$500 secures rezzing rights and the ability to claim the pose gifts on offer at the landing point. Chania also notes that it is a work-in-progress (as with the region to the north), so don’t be surprised if details have changed between reading this description and any visit you make.

And about that region to the north? Well, it may be the subject of a future article, once Chania and her friends have had the opportunity to finish building it. Time will tell on that!

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Wintergeist: Pieces of a Whole in Second Life

Wintergeist: Pieces of a Whole

Fuyuko Amano (Wintergeist) is perhaps best known for hosting exhibitions at her Club LA and Gallery, where she also displays her own images, which I’ve personally felt deserving a wider in-world audience. So it was with delight that I received an invitation to see the first public exhibition of her work hosted by another gallery – and hopped over ahead of the official preview to take a look.

Wintergeist: Pieces of a Whole opens at 13:00 SLT on Sunday, July 2nd and is a fascinating tour of Fuyuko’s art – digital world and physical world. Taking place at the InterstellART Artist in Residence Gallery, it presents eighteen primary images, together with a small collage of images in the gallery entrance space.

Wintergeist: Pieces of a Whole

The exhibition mixes images captured in Second Life with those from Fuyuko’s physical world photography, with all of them interspersed with quotes from artists and writers which serve to help illustrate the nature of inspiration in the artist’s life. This makes for a fascinating display, ranging from landscapes from within Second Life through to beautiful macro-level shots of water droplets on leaves and the stamen on flowers. Between them are images that may have you guessing – were they taken in Second Life, of in the physical world? Even abstract work is represented, adding to the mix.

What is also attractive in this exhibition is the range of formats presented, with images in colour and monochrome, or presented as a photograph or post-processed to resemble art, the considered us of filters – even the ratio of individual images.

Wintergeist: Pieces of a Whole

All of this further speaks to the art and craft of a gifted photographer and artist. Thus we have, through subject and presentation, individual images that come together as pieces of a whole – not only presenting us with insight into the artistry of a photographer, but the vision and thoughts of the photographer herself.

As noted, a special preview opening for Wintergeist: Pieces of a Whole will be held at 13:00 SLT on Sunday, July 2nd. Whether or not you can make that, however, this is an exhibition well worth visiting.

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Stony Hill Vineyard in Second Life

Stony Hill Vineyard, Stony Hill; Inara Pey, June 2017, on Flickr Stony Hill Vineyard – click any image for full size

Update July 30th: Stony Hill appears to have closed. 

We were drawn to Ezra Locke’s Stony Hill Vineyard after catching it in the Destination Guide Highlights for Friday, June 30th. A homestead region, Stony Hill Vineyard offers a pleasing Mediterranean summer feel – or as Ezra puts it, “Spanish and Italian influences with a little hodgepodge” – a description as charming as the region.

Surrounded by lush green hills, the region sits as within a verdant valley, a rural setting crossed by dirt tracks which wind over and around the low-set hills and escarpments which sit around the region edges and which offer – from a eye-level vantage point – the suggestion that this land and most of the hills beyond are one.

Stony Hill Vineyard, Stony Hill; Inara Pey, June 2017, on Flickr Stony Hill Vineyard

A large villa set back into some of these uplands dominates the north-east side of the region, large terraces stepping down from it to the lands to the west, their red brick flooring contrasting with whitewashed walls. To the west and south, guarding the villa and terraces, are ranks of grape-laden vines, some of which have already been harvested. These can be pressed and stomped under the partial shade of a wooden trellis close to the landing point – just please do remove footwear beforehand!

A windmill and equestrian centre sit at the foot of the slopes which fall gently southwards from the villa, while west and north across the region three modest single-storey villas still atop grassy slopes and bluff-faced escarpments. Presented as furnished holiday homes, these are available for rent to visitors wishing to extend their stay at Stony Hill – so if any of them do appear occupied, please respect the occupant’s privacy. The villas are available at L$285 per day (L$1995 per week), with a minimum 3-day stay.

Stony Hill Vineyard, Stony Hill; Inara Pey, June 2017, on Flickr Stony Hill Vineyard

Weddings can also be held within the region, as can private parties. However, these are by arrangement only, and those interested should contact Ezra. Should you wish to rez props for photography, you can do so by joining the local group for a fee of L$250. Additional information on the region – including the local weather and the wine of the month from the villa’s cellars! – can be obtained from the Stony Hill Vineyard website.

Stony Hill Vineyard is an elegant region design which effectively suggests a feeling of the Mediterranean and gives a sense of space whilst still fitting a lot in – the main villa, the rental villas, the equestrian area and even a little waterside market spot (neatly sitting between the villa and high rocky shoulders, giving the impression that the waters beyond are a river flowing between the vineyard and the more distant hills). There are plenty of opportunities for photography, while the villa’s upper terrace offers places to sit and relax – and enjoy the local wine.

Stony Hill Vineyard, Stony Hill; Inara Pey, June 2017, on Flickr Stony Hill Vineyard

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