Kondor Art Club, June 2024: JudiLynn India – Messages
Open through most of June 2024 at the Kondor Art Club, a part of Hermes Kondor’s Kondor Art Centre, is a solo exhibition by JudiLynn India which again demonstrates her extraordinary acrylic art, here given a digital edge through the considered use of post-processing via Procreate, a raster graphics editor developed for devices using Apple’s iOS and iPadOS.
JudiLynn has expressed a love of art and artistic expression for most of her life, studying the subject at both school and university, whilst also learning to play the piano, guitar and violin. Her art has always been a personal journey, one encompassing her outlook on life, her spirituality and her personality – which might be describes as vibrant, passionate and fuelled by a desire to create and explore. This latter aspect of her creativity has, over the last two decades, encouraged her to combining her love of acrylic painting with a growing appreciation of the potential presented by digital painting software and techniques.
Kondor Art Club, June 2024: JudiLynn India – Messages
All of this is fully displayed within Messages at the Kondor Art Club.
Occupying the full gallery space, this collection of some 40 digitally-enhanced, acrylic originals carries within it a familiar sense of the abstract and the natural – aspects of Judi’s work I have always enjoyed.
Each of the compositions offered is described as a spiritual adventure for the artist; something perhaps most clearly seen in the pieces carrying one or more circles within them – a motif, perhaps of the spirit’s enduring nature, and symbolising unending cycles – the embodiment of the alpha and the omega, if you will.
The use of the the circle is not the only symbol or motif to be found within these pieces; many include representations of writing. That the words /letters / symbols might be indecipherable makes no difference, their inclusion not only reflects the title of the the collection, they serve as a reminder that starting with art – in the form of simple paintings – and progressing to use of symbols, hieroglyphs and eventually the written word, we are a race of creatives (and in “written” I would also include the use of music, through its notations and interpretation, as both a means to communicate and to express ourselves), and also archivists; recording what we see, learn, love and cherish for both our out pleasure / knowledge and for those who will inevitably follow us.
Kondor Art Club, June 2024: JudiLynn India – Messages
In this Messages might be said to be an essay in art, a celebration of life, of humanity, nature and all that makes us individually and collectively unique. And like is, each of the compositions within this collection work collectively, each one adding its own lines to the exhibition’s narrative; yet at the same time each is unique and within its own voice, capable of standing on its own, ready to be appreciated just as richly on that basis as for any connection to the rest of the collection.
Joyful Gardens, June 2024 – click any image for full size
Imagine romantic botanical gardens where you can have fun too. Visit our butterfly house and watch them flutter around you. Wander through the maze, hop on rides, or find a spot to dance, cuddle and kiss. Where romance lingers and memories are made.
So reads the description for Joyful Gardens, a simply delightful region design by Hedy Heartsong, and which is home to more than might first appear to be the case when visiting.
Joyful Gardens, June 2024
Leveraging the Land Capacity bonus available to Full private regions, the setting’s charm commences with the general design of its three islands. This is hardly obvious from ground level, but can be seen on the map available on the reverse wall of the landing point’s notice board or indeed, by looking at the World map, although to really appreciate Hedy’s sculpting of the land, I recommend camming overhead and looking down. Doing so will reveal that each island has been shaped in a manner which, when taken together, summarise the inherent theme of the setting: that of nature.
This is a place where it is exceptionally easy to get around on foot, each of the islands offering its own charms and attractions. The main island and the smaller island to the south-east are connected via a zip line and a small bridge. However, to reach the second of the smaller islands, sitting up off the north-west coast of the main island, you’ll need to either fly, make use of a rezzable skiff from the small jetty alongside the main island’s lighthouse or use the bubble rezzer available at the landing point for a more sedate ride to reach it. If none of these options appeal, then the island has a network of teleporters to help guide visitors from point-to-point around the setting: just look for the tree stumps with the topiary rabbits jumping over them.
Joyful Gardens, June 2024
Located on the south side of the main island, the landing point is roughly equidistant from both the lighthouse and the bridge crossing the narrows to the south-east islet. It faces a walk along a narrow neck of grassy land which quickly flairs out into the main island proper. Which of the three routes you opt to take is entirely up to you; as noted, the lighthouse sits above a small jetty where a skiff can be rezzed so you can pootle around the islands on the water, whilst the south-eastern islet is the location of a cosy little house / cabin and can – again as noted above, be reached by way of a bridge.
The fact that the latter is set apart from the rest of the setting initially suggests it is a private residence; however, signs on the picket fence before it bid visitors welcome, an invitation to explore it and the grounds around it. Both he house and its accompanying outbuilding have the look of having once been put to more work-a-day uses, possibly as barns, but have now been converted into a cosy little residence and bath house respectively. They sit within a wildling garden where the grass has been allowed to freely grow, and fruit and vegetables are being cultivated in planters watched over by ripening corn on the cob.
Joyful Gardens, June 2024
Steps and a deck extend down from the island’s flank and out over the waters of the cove separating it from the main island, the deck presenting both a place to sit and a chance to rez a skiff and continue onwards by water. Just above and behind this is the termination point from the zip line which can also be used to reach the house from the central uplands of the main island. Obviously, you can also travel onwards from the house via the teleport network – but if you opt to take the skiff, don’t simply motor off and around the islands – it it to the middle of the bay and have a look at what lies beneath. the waves.
Away to the north-west Bird Island (as I’m going to call it) is home to a chapel, the waters between it and the main island guarded by a pair of sharks. Fortunately, it also has a jetty and skiff rezzer (I didn’t see a teleporting tree stump there), so you can avoid being looked upon as a moving snack by said sharks as you swim back across the channel separating the two islands.
Joyful Gardens, June 2024
The main island in the trio is home to a number of points of interest spread across its gently rising form, including ruins up on the central uplands – which have their own weather as well as the starting point for the zip line mentioned earlier; a maze (one of two awaiting exploration, although you will need to avail yourself of the teleporter system to reach the second (and larger) of them) and an outdoor space that seems to combine an events / celebration / reception space (the chapel is set for weddings) with a small formal terrace / seating area / pond and a brace of carnival rides and a pair of hippity-hop amusement rides.
Meanwhile, sitting under the ruins is an old mining tunnel which can be explored from one end as it dives under the hilltop, whilst the north side of the island is home to the Joyful Jardin Vert, and its exposition bontanique. Here, laid out in a small and tidy formal garden space can be found a profusion of geraniums, gerbera and nemophila flowering amidst privet brushes and shrubs, the flower beds neatly divided by paves walks offering access to a central fountain and seating area.
Joyful Gardens, June 2024
Shielding all this on three sides are tall glass-and-stone greenhouses, one of which is now a butterfly house, the second a teaching room for those wishing to enhance their green-fingered skills, and the third a place in which to relax and enjoy a dance or a nibble of cake and freshly brewed tea (although the bubbly admittedly attracted me more – tea and I have a near life-long agreement that we will largely ignore once another!).
Throughout the entire setting are numerous places to sit and relax, opportunities to photograph the local flora and fauna and to generally appreciated Hedy’s landscaping talents. In keeping with this, do be sure to follow the trail between the trees on the west side of the Jardin Vert in order to fins more eye-catching and secluded little spots. And do make sure to travel with local sounds on to get more of an immersive feel for the setting. Photography is encouraged throughout, and should you need to rez props for your work, contact Hedy and she’ll do her best to assist you.
Joyful Gardens, June 2024
Genteel, relaxing and eye-catching under almost any EEP daytime setting (I’ve using the Shared environment in my images here), Joyful Gardens is a region that more than meets the promise of its name.
Cayla (YumiYukimura): Monochrome Memories, June 2024
Cayla (YumiYukimura) invited me to visit her latest exhibition at Saint Elizabeth’s Studio and Gallery in Second Life, which opened on Monday, June 3rd, 2024. Entitled Monochrome Memories, and with the sub-title of Shades of Adolescence, its an exhibition that is somewhat personal for Cayla and which has – being frank – drawn mixed feelings from me on viewing it.
The personal aspect of the exhibition comes from the fact it is rooted in a physical work project Cayla undertook, as noted in the her introduction to the exhibition:
When I was a young teacher and photographer, I was invited to participate in a group exhibition at a prestigious local art gallery. I had to develop, process, mat, and frame the photographs in my own, one person, professional darkroom. During my free prep periods, at school, I would select a student, take them outside, and have them self pose against a wall of the school building dressed in their everyday attire. This was during the 1970s and 1980s.
Unfortunately, all of my original photographs were destroyed in a flood, including the negatives. The AI-generated pictures presented here evoke memories of those I captured during that time. Just like the originals, these AI pictures are in black-and-white.
Cayla (YumiYukimura) on Monochrome Memories
Cayla (YumiYukimura): Monochrome Memories, June 2024
Cayla also note that during that original exhibition, several of the artists commented on how her images reminded them of the black-and-white photography of Indiana-born and Arkansas-based photographer Mike Disfarmer (1884-1959). He spent a good portion of his adult life living and working in a small photography studio where he would create and sell images of the local townsfolk and those from the surrounding area. As a working photographer, selling set of three photographs at 50 cents, Disfarmer never really garnered much attention during his life – and this might have remained true following his death, but for the 1970 discovery of a cache of his original glass negatives still located with the premises of his former studio.
Carefully catalogued, restored and preserved, these negatives formed the basis for two exhibitions of Disfarmer’s photography – and catapulted him into the realm of well-regarded and celebrated Outsider Artists, his ability to portray the lives of everyday folk in a starkly realistic manner which has come to symbolise life in the mid-west of the United States in the middle of the 20th century.
Cayla (YumiYukimura): Monochrome Memories, June 2024
Within Monochrome Memories, Cayla presents a collection of AI generated pieces which seek to both re-capture the core theme of her original physical world exhibition in that the subjects are (as per the exhibition’s sub-title) predominantly young / adolescent subjects pictured against a wall, whilst mixing-in a touch of Disfarmer in that that all carry either a neutral or (in some cases) slightly dour expression. In this way – and again like Disfarmer – they might be said to offer a stark, unblemished view of people joined not by art, but by the environment in which they live; thus offering a collective snapshot in time.
There is much that is attractive about this collection in its own right, as well as in the manner in which it seeks to offer an echo of a former display and present a reinterpretation of Disfarmer’s approach to photography. For example, I particularly liked the subtle use of self-portraiture (in terms of Cayla’s Profile image avatar) within the collection, and the little touches of humour (the bearded “JC” standing against a wall and reading a Bible-like tome and with a church steeple visible behind him, for example).
Cayla (YumiYukimura): Monochrome Memories, June 2024
That said, I will admit that the very fact these are AI images at their heart gave me issues; I have an admitted ambivalence towards such art for many reasons – including the way in which I feel it can all too easily detract from an artist’s intent more than add to it. Here, for example, it was just a handful of images that kept demanding my attention; not because of the artistry or narrative evident in them, but because they looked to me as if the AI tool had simply lifted from photographs of Tilda Swinton, Bob Dylan and James Dean, Phil Lynott and others. Whilst not Cayla’s fault, this reaction lifted me away from an appreciation of her work and into the realm of pondering the merits of AI tools – and for that, I apologise to her.
Nevertheless, I do see this as an exhibition worthy of viewing, and thus commend it to you.
ONCEAGAIN Gallery and region, May 2024 – click any image for full size
While writing about Splash the Gouache, the May / June 2024 exhibition by Onceagain (Manoji Yachvili) at Nitroglobus Roof Gallery (see: Splash the Gouache at Nitroglobus in Second Life), I realised it had been a while since I last visited Onceagain’s gallery. At the same time I learned that she holds her region open to public visits, and so I made a mental note to hop over and pay another visit as soon as time allowed.
That time turned out to be sooner rather than later after Onceagain contacted me to act if I would pop over and photograph the region in its current form, ahead of her closing the region for a summer make-over.
ONCEAGAIN Gallery and region, May 2024The invite was offered without any request for me to blog the region- Onceagain was extremely generous in her comments about my efforts in photographing Second Life regions – but having spent time wandering through the landscape, I felt it more than worth the time to write about, and I believe that Onceagain is going to hold-off closing the region for its makeover for a few more days so that people can see it as I’ve written about it here.
The first thing to note about the setting is that it is a place that freely mixes art – Onceagain’s work as well as pieces by other artists and photographers active in Second Life – with landscaping; as such those familiar with exploring countryside and similar settings in-world should not expect the region of have a central theme or styling; rather, it should be enjoyed for its own innate beauty and for the art within it.
ONCEAGAIN Gallery and region, May 2024
The landing point is located on the south side of the region, within a warehouse-like building which presents the first confirmations of the artistic lean, within images and pieces by a number of SL artists. Also to be found here is the teleport up to the main gallery space. The latter is going through a state of flux at the moment as Onceagain makes changes; nevertheless the range of art on display is more than worth the time taken to visit.
Outside of the landing point the landscape sits under the custom EPP setting, which I would suggest is the best way to view everything (World → Environment → Use Shared Environment), although admittedly, I’ve blended skies in the images used here.
ONCEAGAIN Gallery and region, May 2024
Where you wander once you do set out is simply a matter of letting your feet take you towards whatever catches your eye; scattered across the landscape are several more buildings which are home to displays of art, whilst 3D pieces can be found outdoors as well as indoors.
The art offered throughout is captivatingly broad, but I will confess to being particularly drawn to a collection of Onceagain’s own work located within a raised building on the east side of the region. Here she has used her art to illustrate a series of poems (touch each picture for a copy of the poem it represents). Alongside of this (figuratively speaking, as the two are in different buildings) is another selection of pieces by Onceagain which frame quotes on art by artists.
ONCEAGAIN Gallery and region, May 2024
All of the buildings across the region are open to the public, with the possible exception of the house located in the north-west corner. Whilst not formally marked as private, it is a visual ode to the kind of home Onceagain would love to have in the physical world; a place set behind hedgerows and at the end of a well-set Zen garden.
Sitting within its own parcel, the house combines a place to live with a home studio any artist would probably love to call home. As it is separated from the rest of the setting by hedgerows and gates, I would advise staying outside and gently camming around if you want to take a peep, rather than potentially intruding. That said, the Zen garden is available to spend time in, and makes for a restful space in which to spend some time.
ONCEAGAIN Gallery and region, May 2024
One of the reasons I found the region so inviting on a personal level lay not only in the flow of the landscape and the blending of nature and art, but also in the fact that Onceagain and I share a similar taste in design aesthetics and Second Life creators. We both have a fondness for the work of Alex Bader, Sasaya Kayo, Kriss Lehmann and Krystali Rabini and for the architecture of Marcthur Goosson – all of whom are represented within my main island home. Thus, in walking through the setting, I felt a certain kinship, although her region and my island are vastly different in terms of look and feel.
Calm, inviting and with a superb selection of art, Onceagain’s gallery and region is well worth a visit by anyone appreciative of art, photography or simply visiting a creative, well-designed region in Second Life.
Currently open within the Nitroglobus Roof Gallery Annex, operated and curated by Dido Haas, is a fascinating mixed-media exhibition of art by Onceagain (Manoji Yachvili). It brings together gouache painting, Second Life avatar photography and software post-processing to produce a series (or should that be part of a series, given this is apparently not the full collection?) of 16 utterly engaging pieces of the artist calls Splash the Gauche.
As a self-taught artist, Onceagain has a creative range to her work that is as impressive as it is visually engaging. She notes in her own introduction to A Splash of Gouache, that part of the inspiration for the pieces contained in this exhibition came by way of having recently completely a course in tempera painting whilst also experimenting software tools focused on painting and drawing, before going on to state:
So I took some photos of my avi on SL and then post-produced them with this software and printed them on watercolour paper, giving them some real touches. I’m old school, I need to experiment first hand by touching and not just looking at what I’ve produced on a monitor and I often hang what I like on the walls of my home … The mix between three media: SL, SW and RL seemed like an interesting path to experiment and I simply enjoyed working on this.
For those not familiar with them, tempera and gouache are somewhat similar techniques, each with a very long history. They consist of combining pigments with a water-soluble binding agent (often egg yolk in the case of tempera, or gum arabic in the case of gouache). Both are long-lasting, and can infuse the paper on which they are painted whilst being very opaque when dry. Tempera is perhaps the faster drying of the two, with gouache capable of being moistened again to dry in a matte finish.
Within Splash the Gouache – the title presumably referring to the overall finish to the pieces in the collection – Onceagain presents a series of avatar studies, some of which feature sufficient nudity to potentially be considered NSFW. All of them have a feeling watercolour lightness combined with the gouache aspect of lighter tones appearing to have perhaps dried darker than than they had originally been, and the darker tones similarly lighter. This gives all of the pieces a blending of colour and tone that – even in those leaning towards darker tones and shades – have a certain lightness of being about them; a sense of life and vitality as the eyes are inevitably drawn to the figure within each piece.
Also present within each picture – again in part thanks to the combining of technique and the use of colour as much as the subject’s pose – is a sense of emotion and / or reflection of mood which more traditional means of imaging and portrayal might not so easily convey. There is narrative within each piece, although what that narrative might be is likely to vary according to the eyes viewing the pieces. In all they are tactile in the manner in which they hold the eye and mind – which is not unfitting, given Onceagain’s own preference for making physical contact with her art, rather than just rendering on a monitor screen.
Running through to the latter part of June 2024, Splash the Gouache is well suited to the large image format utilised at Nitroglobus, allowing us to fully appreciate the beauty of the pieces and Onceagain’s mastery of both her art and her use of technology. Thoroughly recommended.
Hylia’s Lake, May 2024 – click any image for full size
Occupying a Full private region leveraging the 30K Land Capacity bonus, Hylia’s Lake is a charming public / residential location which mixes North American and northern European influences to offer an engaging and photogenic visit and, for those seeking it, a place to call home.
Operated by Anastasia Juriya and Gianella Melodious, the region is laid out around the central lake of its name, which forms a significant body of water without the rest of the region feeling in any way cramped. In this, the region is assisted through the use of off-region surrounds which have been blended into the region’s edges as much as possible to give the setting the sense of being within a verdant landscape of rolling hills, with some of the gaps between the landscape surrounds serving to look like further bodies of water sitting within the distant folds of land.
Hylia’s Lake, May 2024
The landing point sits on the south side of the region and within a small lakeside hamlet which combines several influences and which has at least on rather surprising (actual) place of business (the region is rated Adult). However, like its real-world counterparts, outside of the neon signage, the place is discreet in terms of no windows displays! It sits at one end of a row of virtual business and alongside the local chapel, patrons of which might well disapprove of being sandwiched between the shop and the local night spot – but c’est la vie. Book-ending the row at its other end is the local pub, which as well as offering a pint and a game of pool also has a bike rezzing rack outside for those wishing to good for a ride.
Across the road is a car park / paved square which forms the actual landing point for the region. Here visitors can enjoy an outdoor drink, a meal at the marina restaurant or pick up the region’s rules and learn about the available rentals. The rules are worth reading – not because of any significant “do’s or “don’ts”, but because they provide information on available activities within the region which may or may not be available; during the winter, for example the ski lift appears to be operational, as is the slope alongside it, although for summer it is shut down (for obvious reasons!).
Hylia’s Lake, May 2024
Hylia’s Lake is a place to walk, take photos, or live with the seasons. Cottage rentals, chalets, or trailers are available for rent. The destination lives with the seasons and changes its appearance, winter invites itself with snow and at first the flowers spring forth. A small ski resort comes to life in winter with its chairlift and ski slope. There is a place to dock your boat and sail the lake.
– From the Destination Guide Entry
The rules also highlight the slipway rez zone, where boats and water vehicles of up to 100 LI might be rezzed to take out on the water (please mind the waterfowl also making use of the lake and avoid cross the marker line into the waters reserved of swimmers at the beach.
Hylia’s Lake, May 2024
For those who don’t have a boat, the slipway includes a jet ski rezzer – just sit on the one on the trailer and let it slip down onto the water, whilst to the side of the slipway there is a a Snipe 2.2 rezzer for those who might like sailing around the lake as well.Jet skis, sail boats and bikes are not all that is available to rez and use. A horse rezzer might be found on one side of the square for those who wish to ride around the region (and you can always slip on a wearable horse for riding around the region), with a quad bike rezzer in the parking area. The quad bike is a good choice, as the paved road running through the hamlet quickly gives way to a rutted track that circumnavigates the lake. Whilst cars could well likely make it around the track, the quad bike is more fun.
Hylia’s Lake, May 2024
The rentals within the region are all located around the shoreline of the lake and take a variety of styles well suited to the landscape. They all offer boat moorings and sit within their own parcels between the water and the track as it winds its way around the setting. In terms of public spaces, as well as the hamlet and the lake, there’s the aforementioned beach at the south- eastern extent of the lake (complete with a convenient horse rezzer if you have been riding and decided to dismount for time at the beach). The ruins of an old castle sit behind and above the beach (and are cut through by the meandering track), whilst elsewhere visitors might fight paths and trails meandering through the woodlands.
Swimming in the lake appears to be permitted, and the beach offers windsurfing – but this is an activity for which local Group membership is required (fee: L$150, although the rules sate L$400). I’m not sure if other activities are Group limited, but joining appears to include rezzing rights for those wishing to place out props for photography – but as always, please clean up behind you!
Hylia’s Lake, May 2024
Considerable care has been taken with the landscaping and region design, making Hylia’s Lake exceptionally pleasing to the eye and camera, with the setting well suited to a range of EEP settings as well as the local default (I’ve used one on my own day settings for the images here). The accompanying soundscape rounds-off the region perfectly, with the entire atmosphere one of relaxed charm and gentle sophistication. As the rules note, and I mentioned above, this is an Adult region, so sexual activity is permitted, although I suspect the tenants and region holders might prefer this to be kept to with the rentals (all of which are fairly reasonably priced), and nudity is public spaces is discouraged.
A genuinely pleasing to the eye setting, well laid-out and with a sense of space and natural beauty that reaches well beyond the region’s physical boundaries, Hylia’s Lake is an engaging visit.