A Sojourn Spring in Second Life

Sojourn Spring, March 2026 – click any image for full size

Vally (Valium lavender) sent me a personal invitation to visit the latest region design she and Dandy Warhlol (terry Fotherington) have put together. Once again, things being what they are, it took me a while to get to a point where I could visit – apologies to Vally –  but I did finally manage to do so!

Occupying a Homestead region, Sojourn – Sojourn Spring is a ruggedly handsome setting, a hump of rocky and grassy land rising from a calm sea. The western side of its back largely flat and with a single, gently-sloping incline running down to the west coast with its narrow ribbon of sand and moorings for boats pointing their fingers out to sea.

Sojourn Spring, March 2026

To the east, the back of the island is more elevated, exposed rock seeming to shore up the land above as it forms another plateau of grassland.

Where it the world you might like to put this setting is up to you. The trees suggest somewhere in a northern temperate zone – which would be in keeping with most of the builds  Dandy has put together down the years, many of which I’ve had the pleasure to write about. Similarly, the buildings on the island suggest more northerly / temperate climates, but where you prefer to picture this island as being is up to your imagination.

Sojourn Spring, March 2026
Escape into a breath-taking spring landscape perfect for unwinding and capturing stunning photos. Frame your shots with gentle flowing streams, vibrant wildflowers, and charming wildlife as your backdrop. Region Windlight settings shine here for that magic.

– Sojourn Spring About Land description

This is an occupied island – a house formed out of the split, inverted hull of an old ship sits up on the highest plateau, whilst a couple of single-room cabins lie on the lower expanse of the island’s top, together with what appears to be a long-deserted old stone cottage.

Sojourn Spring, March 2026

A lighthouse points towards the sky from a blunt promontory in the south-west corner of the setting, standing proudly above the western strand of beach running alongside the boat moorings and a second, slightly deeper beach on the southern side of the isle.

The old cottage, tucked into the north-west corner of the island, forms the setting’s Landing Point and offers a grand view inland over the island, a view which immediately draws one into wanting to explore.

Sojourn Spring, March 2026

Were I to paint a possible back-story to the setting, I would guess that the “house boat” up on the higher part of the island is home to whoever keeps the lighthouse, perhaps together with their family. As well as maintaining the lighthouse, these folk would appear to have turned the island into something of a little homestead for raising horses whilst also keeping chickens for eggs and bees for honey, even though, giving the pizza box in evidence at the house, this place must not be too removed from all the conveniences of mainland.

Wind turbines share the landscape with the local trees, presumably providing all the power needed for the house, lighthouse and cabins – and perhaps elsewhere as well. Who might use the cabins (both of which are actually unfurnished inside) is anyone’s guess, but the multiple moorings and the presence of a little café overlooking them and close to the lighthouse suggests the island has its share of at least day-trippers – and maybe folk who want to make a weekend of it by using the cabins as places to sleep.

Sojourn Spring, March 2026

To this end, there are multiple look-out points and places to sit on the island – including a VW camper van some enterprising soul has brought to the setting, where it now (permanently?) sits on a narrow self of land on the east side of the island between parallel cliffs.

These look-out and sitting places encourage people to spend time on the island doing what the About Land description suggests: making an escape and simply unwinding; allow the beauty of the setting, its flora, fauna and birds to carry them away from the worries and concerns of life.

Sojourn Spring, March 2026

In this, the island is absolutely perfect, the details are highly photogenic and offer a lot to see and give life to the setting. I particularly like the way water has been used, from broad ponds upon which rowing boats sit to the tumbling of falls to the sea below and the meanderings and tumblings of genuine brooks – so rarely seen when streams and rivers seem to be far more popular.  No wonder the island is a popular stopping-off point for egrets as they commute back and forth with the changing of the seasons.

All of this makes Sojourn Spring a visual delight to see and an engaging place to explore. Highly recommended.

Sojourn Spring, March 2026

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Sojourn Spring (Sojourn, rated Moderate)

A trip to Planet M’s Tula in Second Life

Planet M – Tula, March 2026 – click any image for full size

As I work to catch up on a backlog of invitations, I pulled up one from Myrdin Sommer, inviting me to visit his Full region build of Planet M – Tula.

The invite actually came in mid-February with a note that it would likely only be around “for a few more weeks”. This being the case, my apologies to Myrdin for not having been able to visit sooner, and my hopes that this article finds its way to readers with sufficient time for them to visit the build before it vanishes.

Planet M – Tula, March 2026
Planet M’s Tula is a surreal red-earth valley shaped by organic forms, roaming animals, and a ceramic studio at its heart. Tula invites visitors to wander, pause, and look — offering a calm, dreamlike environment with Room to Dream, and perhaps make a picture or two. Tula welcomes you with open arms.

– A description of Planet M – Tula

As might be gleaned from the description above, this is a strange, alien environment – albeit with many touches of Earthly familiarity. The undulating landscape is marked by strange tubular-like extrusions and rising tendrils of clay ground, some of which are bent and bulb-headed, almost as if they are organic in nature whilst others end in lightbulb forms that provide local illumination together with some of the horizonal tubulars extending outwards from hillsides. In addition, flat-topped, mushroom-like islands rise on stout stalks to provide raised platforms, and honeycombed humps provide another form of illumination for their surroundings.

Planet M – Tula, March 2026

Amidst all of this water flows and pools and animals from Earth graze and roam: horses, cows, elephants, cats, birds, goats – even a couple of sauropods. Some of these can be found on the ground, others keep themselves to the island-like  tops of the “mushroom” islands.

Also waiting to be found are signs of human habitation. These are located in several of the caves found below the hills (and one of which sits behind a curtain, so to speak!). These are both primitive in form let cosy in nature, with human seating, furniture and so on. One of these is also the home to an artist’s studio.

Planet M – Tula, March 2026

The Landing Point sits towards the middle of the region, watched over by flamingos, a nearby signpost pointing the way to various attractions. These include the Octopit (find out for yourself!), and a memorial to director David Lynch. Note that the Landing Point is on a small island of its own, but the waters surrounding it are shallow enough to wade through.

Getting around the ground level is easy enough. However, exploring the “floating” islands without resorting to flying up to them is a matter of finding the rope ladder to the first and then using the interconnecting bridges and rope ladders to work your way around the rest.  Exploration of these will also allow you a view of  a group of dogs happily gathered on a white cloud complete with its own waterfall and a rope ladder to climb up to it.

Planet M – Tula, March 2026

With Earthly trees, grasses and lily pads making up the majority of the setting’s flora, Planet M – Tula is, as its description states, a surreal place, complete with a Moon floating just off the ground between two horns of rock, and a series of tiny floating “suns” to add to the illumination. It is also engaging in design and discovering all there is to see does cause you to travel its length and breadth, while the habitation spaces in the caves present places to rest awhile.

In all, an interesting visit with a fair amount to see and do. My apologies again to Myrdin for taking a while to make a visit.

Planet M – Tula, March 2026

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The art of Janine Portal in Second Life

A Thousand Words Coffeehouse and Gallery, March 2026: Janine Portal

In February, I received an invite from Astella Warrigal to visit her gallery, A Thousand Words Coffeehouse and Gallery. It was actually to attend the venue’s grand reopening, which was held on February 22nd, 2026. However, things being what they were for me at the time, I was unfortunately unable to attend that event; but I certainly wanted to make sure I got to see the exhibition of art by Janine Portal which formed a part of the re-opening.

I first encountered Janine’s work back in 2018, an immediately found it captivating. As I noted at that time:

Utilising animations and prims to present remarkable collage pieces with a surrealist edge that are quite captivating to see … some of the most unusual art and effects I’ve seen in Second Life for a while, each piece offering an unexpected view of what might otherwise appear to be and ordinary scene or photo or presenting a melding of ideas and / or narrative that is quite engaging.

– The artful collages of Janine Portal in Second Life

A Thousand Words Coffeehouse and Gallery, March 2026: Janine Portal

This is very much the case with the exhibition of Janine’s work at A Thousand Words Coffeehouse and Gallery, where it can be seen on the upper levels of the building. On display are some 13 collage images, all of them comprising found and manipulated (by Janine) art and photographs, including reproductions of artwork by the likes of William Blake, Hilma af Klint, Richard Diebenkorn, and Second Life photographer Ajax Ogleby.

Janine says of her work:

I’ve been making art in Second Life using a technique that involves layering transparent prims to create works with shifting collage images. In RL, long before I made an account in SL, layered transparent paint to express similar ideas, using many of the symbols you see here. 

– Janine Portal

A Thousand Words Coffeehouse and Gallery, March 2026: Janine Portal

Janine goes on to note that her art reflects ideas which have woven their way into her thinking and approach to art ever since her time at art school: ideas of the metaphysical and personal symbols of transformation. This gives her work a layered set of interpretations; whether one views them purely as visually engaging works of art or seeks to find those metaphysical ideas.  In this, Janine adds her own view on the art:

On a conceptual level they represent, to me, the endlessly shifting nature of reality, the ways in which we move through time and space and the nature of growth, change, and transformation.   

– Janine Portal

A Thousand Words Coffeehouse and Gallery, March 2026: Janine Portal

A genuinely captivating exhibition, one definitely worth the time in visiting.

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The beauty of London’s China Buddha Caves in Second Life

China Buddha Caves, March 2026 – click any image for full size

Located within Gansu province in western China is the county city of Dunhaung. It sits on the old Silk Road, and forms a cultural and religious crossroads. Founded as a garrison town in 11 BCE, Dunhaung is perhaps now more famously known for its proximity to the Mogao Caves, a system of 500 temples, caves and grottoes some 25 kilometres south-east of the city.

Also known as the Thousand Buddha Grottoes or Caves of the Thousand Buddhas, the network represents, along with other cave systems in the area, some of the finest examples of Buddhist art spanning a period some 1,000 years, the earliest caves having been dug in around 366 CE, initially as places of rest, worship and meditation. However, as time passed, they became a place of pilgrimage, and further caves and grottoes were dug, with the system expanding through until the 13th century, before they were “lost” until the late 19th century.

China Buddha Caves, March 2026

I mention all of this because in his latest artistic installation, London Junker offers us a vision of the Mogao Caves and the beauty of their art, sculptures and design with his China Buddha Caves build- project was sponsored by SL Public Land Preserve and Ravenglass Rentals (La Montana Rosa) – to which he extended a personal invitation for me to visit.

Situated in the snowy uplands of south-western Sansara, the build is initially deceptive to the eye. The Landing Point sits at the head of a descending gorge through which water tumbles and falls towards the sea. A large Buddha sits behind the Landing Point, undoubtedly offering blessing to arrivals, whilst a single grotto with wall murals and three more figures of Buddha sits to one side.

China Buddha Caves, March 2026

A further Buddha can be seen lower down in the valley, together with a shrine and structures built with their backs towards the rising cliffs. A single path runs down the side of the gorge, passing over a long bridge and down stairs to reach a second bridge crossing the waters and provide access to the tall statue of Buddha and the shrine, whilst a second path rises to the lowermost of the structures build against the cliff, and which forms the entrance to the caves proper.

The art and carvings within the Mogao Caves is truly magnificent, and the site fortunately escaped the Buddhist persecutions ordered by Emperor Wuzong of Tang in the ninth century, continuing to be used through until the Yuan dynasty in the 13th century. However, it was during that era that new trade routes started to open, and the use of the Silk Road fell into decline – and with it, the use of the Mogao Caves as a place of pilgrimage. By the mid- 14th century, no new caves were being built, and the site was largely forgotten other than by locals.

China Buddha Caves, March 2026

It was not until the 19th century that the caves were re-discovered.  Interest in exploring the ancient Silk Road and uncovering its secrets was initially a goal of western explorers and historians, and this eventually led them to Dunhuang and the caves. However, it was at the start of the 20th century that the greatest work of rediscovery commenced, with the good intentions of one man in particular.

His name was Wang Yuanlu. A Chinese Taoist, he had appointed himself guardian of the caves, and in the early 1900s set about clearing the entrances to many which had become blocked over the centuries, as well to trying to renovate many of the damaged statutes.

China Buddha Caves, March 2026

Most particularly, Wang’s work led to the discovery of a vast trove of manuscripts in what had simply been called Cave 17, but which afterwards was referred to as the Library Cave. Some 1100 scrolls and 15,000 books were found in the cave, together with an estimated 50,000 texts on a range of subjects including philosophy, art, literature and medicine. This discovery brought the Mogao Caves to wider global attention, with a number of foreign expeditions to explore them being mounted – several of which simply carted off whatever they could.

Fortunately, London’s China Buddha Caves suffers none of this looting. Rising up through multiple levels, as is the case at Mogao, they instead offer a captivating interpretation of their physical world inspiration, presenting a rich mix of Buddhist art and history,  the walls bearing beautiful murals and paintings, the statuary magnificent in detail and finish. As you rises up through the caves (take your time in exploring, some of the rising tunnels are easy to miss!), you will come across an opening to a veranda located against the cliff and above the main entrance, reflecting a similar, almost pagoda-like structure found at Mogao.

China Buddha Caves, March 2026

Each level becomes more expressive and rich as one ascends, with the upper most and the landing and grotto leading up to it being particularly attention-holding. However, all of the levels capture the beauty and history to be found in the caves at Mogao, and perfectly reflect the beauty of the murals to be found in many of the caves there. In this, I would advise using a PBR viewer in order to fully appreciate this installation, or if you are still pre-PBR, that you enable ALM.

Presenting a glimpse of what is now a UNESCO World Heritage Centre (since 1988), London’s China Buddha Caves offer a superb means by which to catch a glimpse of what is a magnificent centre of Buddhist history and art in the physical world.

CChina Buddha Caves, March 2026

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A return of spring to Pususaari in Second Life

Pususaari – Where spring feels gentle, February 2026 – click any image for full size

I’ve had a something of a rough couple of weeks, the result of which has been very little time in-world, other than parking myself at the occasional user group meeting and trying to keep up with “routine” posts here. So, as things have decided to improve, I decided to ease back into blogging visits and bits by returning to a location that has been a recent favourite for me: Pususaari.

To be honest, I didn’t arrive at this decision all on my own, my friend Cube Republic poked me with the news that the region had once more been reworked by holders Lu and Leelou Von Perkle (Lu Carrillo and LeeLou Graves respectively), and this served to encourage me to hop over and have a look around once more.

Pususaari – Where spring feels gentle, February 2026

This marks my third visit to the setting, which carries the name Pususaari – Where spring feels gentle, the others having been in April 2025 and again in December 2025. With those visits – as with this one – I could not help be feel at home within the region.

Romantic island for dates and quiet moments. Soft light and gentle nature invite you to relax, wander and connect. Discover a cosy café, hidden seating spot, open verandas, beaches, animals and a unique lighthouse landmark watching over the shore.

– Pususaari About Land Description

Pususaari – Where spring feels gentle, February 2026

The cosy café and lighthouse of the About Land description face each other across the gentle, sandy sweep of a shallow bay on the south side of the region. The café forms the region’s Landing Point on the eastern side of the bay, whilst the lighthouse stands at its western extent.

The latter appears to have been decommissioned some time ago; the lantern is off and the glass of the light room is heavy with grime and dirt to the point of being opaque. Now the only illumination the lighthouse seems to provide is that of a hand-held lamp. This sits on a round table on the lighthouse gallery, a wooden chair alongside it offering a perfect look-out point, although getting up to them appears to require a bit of a jump!

Pususaari – Where spring feels gentle, February 2026

The bay and is guardian lighthouse and café are in turn overlooked by an artist’s studio/ retreat sitting up on one of the island’s wooded peaks. It can be reached by walking inland from the café, passing through a gap in the fence backing the beach and then climbing the lower slopes of the peak to where a wooden stairway and deck provide access to the upper slopes and the studio.

Inland, the region is split into two by an east-to-west flowing channel crossed by two bridges. The first of these is reached via an easy walk through a low-lying meadow beyond the slope leading up to the artist’s studio. On the north side of the water channel, this bridge is watched over by a working windmill.

Pususaari – Where spring feels gentle, February 2026

The latter forms a part on a small homestead farm on the north side of the setting, joining with a Tuscan-style farmhouse and outbuildings bordering another sweep of meadowland, horses cattle, horses, pigs and chickens making up the livestock being tended.

The farmhouse is ideally placed to overlook the beach running along the north coast of the region, a waterside summer gazebo offering a retreat of the hard work of the day on the beach, while an outdoor dining space complete with pizza oven offers a further corner of delight for the farm owners and their family.

Pususaari – Where spring feels gentle, February 2026

The western end of the north beach cuts a little more deeply into the land, and sandy walk leads inland and up to the second bridge across the region’s water channel. This provides access to the back of the wooded hill where the artist’s studio is located.

A steep grassy climb runs up over the hill, allowing explorers to make their way back to the studio. An easier walk around the shoulder of the hill offers a path to an old shack on the coast, the deck of which has long since claimed by the load seal population, whilst the interior offers a further retreat for romantics.

Pususaari – Where spring feels gentle, February 2026

A couple of wrecked boats suggest the waters around the island can be a little capricious in their treatment of passing vessels while at the same time offering further points of interest to those exploring the region – and, in the case of one of the boats – for the local pelicans!

All of the above leaves a lot unsaid about this iteration of Pususaari – the level of detail to be found throughout, the mix of local waterfowl, the many places to sir and pass the time alone or in company – and, of course, plenty of opportunities for photography.

Pususaari – Where spring feels gentle, February 2026

So – why not go see for yourself?

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  • Pususaari – Where spring feels gentle (Bisous, rated Moderate)

Sophie’s Infernal Symbiosis and Yellow Impressions in Second Life

Subcutan Art Gallery, February 2026: Sophie de Saint Phalle – Infernal Symbiosis

Sophie de Saint Phalle (Perpetua1010) has recently opened two exhibitions of her work, each of which is also set to words offering both insight and description.

The first, which opened on February 13th at Sophie’s own Subcutan Art Gallery, where it occupies an atmospheric skybox exhibition space. It is entitled Infernal Symbiosis, and perhaps the best way to describe it is a celebration of the meeting of self and nature, and the ability of the latter to remove the noise, the insistent pressure the demons of modern life, and to remind us of our heritage and our being a part of Nature and the world around use.

Subcutan Art Gallery, February 2026: Sophie de Saint Phalle – Infernal Symbiosis
The watercolours were created at the edge of flow— in the forest, beside a narrow creek. Water becomes body; body becomes landscape. Nature and human dissolve their borders and remember their shared origin.

– Sophie de Saint Phalle, Internal Symbiosis

In the darkness of the gallery space, the vibrancy of the 14 abstract paintings is perfectly brought to life, the fluid lines and flowing colours giving a sense of both motion to what are essentially still life images, together with a sense of water-like fluidity. Together  they give us a beautiful sense of harmonious intermingling of our humanity and Nature.

Subcutan Art Gallery, February 2026: Sophie de Saint Phalle – Infernal Symbiosis

In this, it is – to me at least – vital to take in the ambience of the gallery space as a whole; within Subcutan, Sophie always takes care to offer her art in terms of an immersive environment, where setting, art and EEP all combine to form an experience to be explored and appreciated. This is very much the case here, the outer lobby of the main hall and the scenes visible through the windows adding creative depth and feeling to the exhibition as a whole.

Sophie’s second current – at the time of writing – exhibition opened on February 19th at ArtCare Gallery, curated and operated by Carelyna. Again occupying a sky-base exhibition space is Yellow Impressions.

ArtCare Gallery, February 2026: Sophie de Saint Phalle – Yellow Impressions

It offers some 13 nude images presented as marble etchings, all of which carry a similar theme of symbiosis and joining – or perhaps understanding might be a better term, as Sophie notes in the text accompanying the exhibition.

As myself became intertwined with the soul structures of others, surface turned into tangible life. In this transition — between inner perception and outward appearance —an image-skin emerges that does not depict, but carries.

– Sophie de Saint Phalle, Yellow Impressions

ArtCare Gallery, February 2026: Sophie de Saint Phalle – Yellow Impressions

That the nudes are what might be termed partial studies – and indeed possibly familiar to followers of Sophie’s work – matters not. Again, as Sophie notes, reduction of the body, the absence of features (e.g. head, or facial features) and focus on specific elements of the human body (e.g. the torso),becomes a method of approach, a means to express the idea of both self and our perception of others becoming intertwined; an energy flow if you will, of a subconscious yet perceptual openness – or perhaps offering – of one to another.

Taken together or individually, Infernal Symbiosis and Yellow Expressions are both shirking and visually engaging, whilst the words accompanying them (touch the exhibition title boards in each case to receive these), allow us to thread the path of the deeper expression and meaning within both.

ArtCare Gallery, February 2026: Sophie de Saint Phalle – Yellow Impressions

Highly recommended.

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