The beauty of a bleak midwinter in Second Life

Furillen; Inara Pey, December 2015, on FlickrFurillen (Flickr) – click any image for full size

Furillen, Serene Footman’s homestead region has been on my radar for a while, having been labelled as “under construction” the first time I dropped in during November. This past weekend offered an opportunity to make a revisit to see how things are progressing, so Caitlyn and I headed over to look around.

The region is named for – and modelled after – a small island off the north-east coast of Sweden’s largest island, Gotland. During the 20th century, Furillen was a centre for limestone quarrying, but in 1970 it was taken over by the Swedish military to become the location for two air defence radar installations, the quarries being abandoned as a result. With the military presence now largely gone from the island, it has, since 2000, it has been the location for a minimalist hotel and conference centre owned by photographer and entrepreneur Jonas Hellström.

Furillen; Inara Pey, December 2015, on FlickrFurillen (Flickr)

Serene Footman takes these elements from the original Furillen and brings them in-world to present, in keeping with  Hellström’s approach to his hotel, a minimalist design shrouded in the bleak skies and heavy snows of midwinter, which is quite starling and captivating in its desolate beauty.

Explore the island and you find not only the squat, angular lines of the hotel, but also other landmarks from the original, including the remnants of the old limestone quarries, complete with rusting heavy equipment, traces of the former military presence, and some other quite unexpected sights.

Furillen; Inara Pey, December 2015, on FlickrFurillen (Flickr)

There is also a touch of the surreal to the design as well, something I particularly felt on seeing the door marked “Exit” in the south-east corner of the region, separated from the island by a stretch of cold water, and apparently beyond reach. This, with the presence of the Peatonville Asylum’s Queen of Denial put me in mind of the final lines of The Eagles’ Hotel California. Whether this is intended or not, I’ve no idea; although to me the echo of the lines didn’t seem to be entirely out-of-place.

Which is not to say Furillen is in any way sinister; far from it. As I’ve already noted, there is something remarkable in its desolate look. It is hard not to be drawn in to the rugged beauty of the landscape and the functional, stark lines of the buildings here. It’s an attraction that is very hard to leave behind, as I’ve discovered for myself, having bounced back a number of times throughout the weekend and since.

Furillen; Inara Pey, December 2015, on FlickrFurillen (Flickr)

Serene Footman plans to keep Furillen going for as long as there is an interest in visiting the region, and has indicated he’ll be adding to it and changing things as the mood takes. So, if you do visit and find yourself as captivated as I, do please consider leaving a donation at one of the tip jars to help towards running costs. And to fully experience the region, do take time to listen to the accompanying music stream, which adds further depth to the region as one explores.

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A Frisland Winter in Second Life

Frisland; Inara Pey, December 2015, on FlickrFrisland (Flickr) – click any image for full size

It’s been a while – a year in fact – since my last visit to Frisland, the region Charlie Namiboo, Anna Barzane and Frislanda “Fris” Ferraris created while imagining what the mystical land for which it is named might look like, if it were to actually exist. however, a note from the team announcing the region has once again put on its winter coat for the end of the year prompted me to suggest to Caitlyn we jump across and take a look.

The region takes its name from the “phantom island” which started to appear on maps as a place in the North Atlantic from around the 1550s onwards, and continued to do so for at least the next 100 years, although its position was prone to movement. Some maps would place it south-west of Iceland, others closer to the Faroes off the coast of Britain, while still others depicted as a part of a chain of islands extending from the Labrador coast almost as far as Scotland. It even appeared on maps produced in the 18th century, when it was thought to be the southern part of Greenland, separated from the rest by an ocean strait.

Frisland; Inara Pey, December 2015, on FlickrFrisland (Flickr)

Given the island’s imagined location, it is only right that winter should come to Frisland in second Life and bring with it a full blanket of snow and coats of wind-blown frost on the trees. The tracks around the island are still visible, even with the ruts filled with snow, and the local animals appear to be accepting the turn of the weather with equanimity, while the locals appear to have retreated indoors.

As this was Caitlyn’s first trip to Frisland, we wandered along the paths – gracefully ignoring the sleds sitting waiting for use; neither of us was particular sure our driving skills would be suited to careering down a hill and possibly into innocent bystanders! – and found our way past the horses and up onto the higher grounds before making our way down to a riverside fireplace for a warming snuggle and chat.

Frisland; Inara Pey, December 2015, on FlickrFrisland (Flickr)

While the passing of the year is marked on Frisland, the overall layout of the island remains constant. As such, there is an obvious familiarity the returned visitor feels on arrival; one that carried with it the warm assurance that this is a place we know and where we can feel at home. At the same time, Frisland offers those new to it with plenty to see and enjoy.

For my part, I found that a year away was really to long a period of time, while Caitlyn said she found Frisland to be a warm place, despite the snow on the ground and overcast skies! so i think it safe to say Frisland is firmly back on the roster for regular outings for us!

Frisland; Inara Pey, December 2015, on FlickrFrisland (Flickr)

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A Slow Reveal in Second Life

A Slow Reveal – Dathúil Gallery
A Slow Reveal – Dathúil Gallery

Running from December 3rd through until December 30th, 2015 is the latest exhibition at Dathúil Gallery, operated by Max Butoh and Lυcy (LucyDiam0nd), and once again it is something to capture the eye and stir the mind.

“Certain moments in our lives become epiphanies,” says artist Goodcross of his exhibition, A Slow Reveal, “I tend to recreate these moments even if they are not from my own personal life. I combine a picture with a song so that they collectively can set a mood for my audience and for that moment they might be connected to me.”

A Slow Reveal – Dathúil Gallery
A Slow Reveal – Dathúil Gallery

The result is some 32 evocative moments captured in time,  each beautifully crafted, and which collectively present images richly diverse in content, but which all exhibit a powerful emotional expression. Featuring shots of art installations, individual pieces of art, painstakingly composed scenes, and intimate moments, the breadth of the content on offer is amazing.

When writing about art in SL, I often refer to narrative in images and works, as that is particularly what appeals to me when visiting installations and galleries – seeking possible threads and stories. A Slow Reveal provides them aplenty; what’s more as you walk through the gallery, visiting and re-visiting the images, you may well find that the story – the very mood – of each image changes as your subconscious is influenced by the mood and tone of the other images. It’s an impact which perfect suits the title of the exhibition.

A Slow Reveal – Dathúil Gallery
A Slow Reveal – Dathúil Gallery

The narrative power of the pieces is evident from the moment one arrives at Dathúil: suspended over the whiskey stills at the back of the hall is a breathtaking piece Leave Their Light On. Such is the power of this piece, it draws one directly to it, and into a semi-circle of five images on easels below, which encapsulate the rich diversity of Goodcross’s work even before one has really consciously acknowledged the images on the walls and upper gallery catwalks.

Each month I’m overwhelmed by the creative talent Max and Lucy bring to Dathúil; the richness of the exhibitions at the gallery have never failed to impress – it’s why I personally rate Dathúil Gallery as my personal favourite in Second Life, and genuinely look forward to the start of each month to see what Lucy, Max and their chosen artist will unveil. However, while every exhibition to date has been a gem, I have to say A Slow Reveal is for me, the most evocative exhibition of an artist’s work I’ve yet seen at the gallery.

A Slow Reveal – Dathúil Gallery
A Slow Reveal – Dathúil Gallery

It is something which definitely should not be missed by anyone with a discerning eye for art. And be sure to check Goodcross’s Flickr stream as well.

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Sky Fire in pictures at The Living Room

Sky Fire at The Living Room
Sky Fire at The Living Room

Now open through until December 29th at The Living Room Gallery is an exhibition focusing on the work of Lexi Marshdevil and Particle Tom, known together as Sky Fire, and who are responsible for some of the most stunning particle shows in second Life.

On display are a series of images taken from the duo’s shows Legend of the White Rock and On Tour with Jed Luckless, which offer insight into the work of Sky Fire in the use of particle shows to both tell stories and provide an immersive visual experience to accompany live music events.

Sky Fire at The Living Room
Sky Fire at The Living Room

The storytelling element of Sky Fire’s work is very much evident in Legend if the White Rock, a tale of young love (albeit that of the son of a sea-god and the princess of a tribe of indians), which as Lexi explains proved inspirational:

Having grown up in White Rock, Canada, the Legend has always been an integral part of my life. Living near the beach, the Semiahmoo reservation, and hanging  out  at the famous white rock itself meant that it was a constant reminder of a wonderful story. As I happened to read the Legend again one night I realised how perfect the concept would fit into a beautiful particle show interpretation. The angst of young lovers, the Native American princess and her life amongst her tribe,  her suitor,  Neptune’s son,  who lived beneath the ocean , and how love would set them free eventually to start a whole new world of their own, that would continue through time.

Sky Fire at The Living Room
Sky Fire at The Living Room

The images from On Tour with Jed Luckless obviously illustrate how music and particle shows can be combined to present a visual and aural extravaganza.

As a part of the exhibition, Jed Luckless will be singing at The Living Room in a 2-hour special mid-month musical event on Thursday, December 17th, starting at 17:00 SLT.

The Sky Fire exhibition will, as noted, run through until December 29th, when there will be a closing party featuring Boney Mosey, starting at 18:00 SLT. Those who have seen The Legend of the White Rock may wish to avail themselves of the opportunity to buy a copy of a book featuring images from the show.

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Signs and portents in Second Life

Escenas / Scenes: El Miedo /The Fear
Escenas / Scenes: El Miedo / The Fear

Now open at MetaLES is the third instalment of Ux Hax and Romy Nayar’s 4-part series of scenes entitled Escenas / Scenes. Taken together, all four parts are apparently intended to tell a story, although they are not necessarily being presented in chronological sequence.

While I missed the first in the series,  EL Tiempo / The Time, which ran from November 1st through to the 14th, I did catch the second element, Decisiones / Decisions, which I wrote about here. This has now been replaced by El Miedo /The Fear, which opened on November 28th, and will remain at MetaLES for the next two weeks. And like the first two in the series, it is an installation on a gigantic scale.

Escenas / Scenes: El Miedo /The Fear
Escenas / Scenes: El Miedo / The Fear

Central to the piece is a woman standing in a room. A tall clock sides to one side, a sideboard to the other alongside an open window. Behind her, the door to the room stands slightly ajar, almost beckoning. Towering over all of this is a truly enormous figure of a crouching man, arms wrapped in a straitjacket, while before the woman – who is arrayed in black – a baby’s crib fades repeatedly in and out of view.

The first thing which tends to spring to mind on seeing the main scene – the woman and crib in the room – is that it reflects the loss of an infant child; but what then of the looming figure of the straitjacketed man? What role does he play? The husband / father, perhaps, driven mad over the loss of the child? The cause of the baby’s death? Or something else entirely?

Both Decisiones / Decisions and EL Tiempo / The Time seemed to me to resonate with elements of the Major Arcana from the tarot – The Hermit appearing in EL Tiempo / The Time; with  Justice, The Chariot and The Hanged Man in Decisiones / Decisions. Within El Miedo /The Fear there is what appears to be at least one reference to the tarot; supported in the woman’s cupped hands is a stone tower, perhaps representative of The Tower from the Major Arcana.

Escenas / Scenes: El Miedo /The Fear
Escenas / Scenes: El Miedo / The Fear

If this indeed the intended symbolism, it fits the broader part of the story: The Tower is associated with sudden, disruptive, and potentially destructive change – and what could be more destructive and disruptive than the death of an infant child? But there is potentially more here as well.

The Fool is another card from the Major Arcana, and is more archaically known as  Le Mat or Il Matto, which as well as meaning “vagabond” – the usual depiction of The Fool in tarot decks -, can also mean “the madman.”   Thus, it’s very hard not to see a degree of further symbolism linking this scene with the tarot through the (mad?) man in the straitjacket.

There are two other symbols event in the piece which also appear in the previous parts: time and the crow. Quite how they fit into things is unclear; but in EL Tiempo / The Time, the clock suggested the subject of death to me – and the wheel of fortune elements of Decisiones / Decisions focused around The Hanged Man may have carried similar connotations; so again, it might be a further thematic flow evident here as well, through the grandfather clock as it presides over the woman’s apparent mourning and the fading crib. The crow’s presence, as he stands upon a table might present a two-fold role: that of our narrator or communicator through the scenes, or possibly as The Trickster.

Escenas / Scenes: El Miedo /The Fear
Escenas / Scenes: El Miedo / The Fear

Once again, I offer no attempt to present a complete interpretation of the story – or even this particular scene. With one more piece still to appear in December, it would be presumptuous to offer commentary on the story as a whole, while the notes I give on this scene are more thoughts rather than any attempt at interpretation. If, like me you have been intrigued by the first two parts of  Escenas / Scenes, then I do urge you to see Part III.

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An Everlong stay in Second Life

Everlong; Inara Pey, November 2015, on FlickrEverlong (Flickr) – click any image for full size

ARNICAR India creates beautiful water-themed regions which can mix the natural and the surreal in a perfect blend to produce a lasting memory of a place that’s easy on the eye, heart and mind and where the soul can find peace. Her latest creation, Everlong, is no exception in this.

The landing point features a small stage, the backdrop to which extols visitors to Celebrate (the moments of your) Life, as a little troupe of rabbits perform ballet on bleachers close by, and a piano and cello await their players.

Everlong; Inara Pey, November 2015, on FlickrEverlong (Flickr)

As the sun sets to the west, it falls across a series of small vignettes lying across the ankle-deep water, awaiting exploration. The central, and largest of these features a ruined house with bric-a-brac and mementos within, a huge gnarled tree standing over it and seating amidst the wet grass outside.

Follow the stepping stones through the garden wall and a little yard awaits, Christmas trees partially decorated. Here is another little sitting area, the chairs arranged on an unflooded stone floor, while a watery avenue leads onward between silver birches, to where Bryn Oh’s Milkdrop sits, and a little further beyond her, a boat suspended beneath balloons awaits.
Everlong; Inara Pey, November 2015, on FlickrEverlong (Flickr)

Balloons are something of a theme here; head west and a little north from the ruined house and you’ll find a snowy set of islets amidst more silver birch, connected by a wooden bridge suspended under three hot air balloons, while a little balloon cart sits nearby.

Despite the minimal approach, there is a lot to see within Everlong, and not all of it on the ground – keep an eye out for the ladder to discover another winter’s scene, where you’ll find more to see and places to sit on your own or in the company of another. And don’t miss a ride on the horses or the photo booth behind the house ruins, which offers amusement of its own.

Everlong; Inara Pey, November 2015, on FlickrEverlong (Flickr)

As with ARNICAR’s Imagination, which I wrote about here and here, Everlong presents a water focused peaceful setting, beautiful minimal in approach, yet offering a lot to captivate the eye and camera. Not a placed to be missed by the keen Second life explorer.

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