Category: Reviews

On January 3rd, and thanks to Quan Lavender, I wrote-up a small piece on In the Belly of the Whale and Flash Mob, both of which are taking place under the auspices of the LEA in January. At the time of writing, Flash Mob was just in the process of starting-up, so I thought I’d pop back and take a peek – although admittedly with ulterior motives.

The event is the brainchild of Secret Rage, who is also curating it across LEA26 and LEA27. As noted in my preview report, Secret is inviting people to submit one or more art pieces (the total for which should not exceed 200 LI) to be displayed within one of the regions through until the end of January – the hope being to keep on adding pieces until the combined 30,000 LI capacity of both regions is reached.

Already a number of noted artists and SL photographers have responded to the call, and Flash Mob is turning into a fascinating collection of SL art work which is also quite possibly one of the most unique in SL in the way it is both bringing so many different talents together in one place and because there is no central theme or idea on which the exhibits are to be based, leading to an intrigue mix of exhibits.

Piece currently on display include works by Claudia222 Jewell (always a favourite), Giovanna Cerise, Bear Silvershade and Derry McMahon and Ziki Questi (three photographers I greatly admire), Haveit Neox, Betty Tureaud, Ataro Asbrink, Fuschia Nightfire – and more.

The pieces on display range from photos and paintings through sculptures and murals to interactive pieces, all set-out in an open landscape one can explore at will and in whatever direction one opts to take.

Given the nature of the event, it makes for a highly eclectic exhibit, one which perhaps gives visitors the chance to see works by people they’ve not come across in SL before (that’s certainly the case with me; I’ve already found pieces by several people I’ve added to my list of Names To Watch Out For in art and other announcements).

And the ulterior move for this revisit? Well, I got up the courage to submit 8 of my own images of places around SL, and Secret has put them up in a rather nice little display in what is the first time I’ve exhibited anything in-world.

I don’t expect anyone to visit Flash Mob simply because I have some pictures there, but given the august company surrounding my little efforts, I do commend Flash Mob as a worthwhile visit; It’s a great way to enjoy a very broad cross-section of SL art,

Related Links

• Flash Mob 1 SLurl
• Flash Mob 2 SLurl

Opening on Monday January 6th as a part of the LEA’s Full Sim Art series is Gem Preiz’s A Catherdral Dreamer, exhibiting his most recent fractal art creations and which is effectively one-third of a three-part exhibition. Opening at the same time (14:00 SLT on January 6th) will be an additional in-world exhibit featuring his fractal paintings, which includes those on display at LEA6, at his own gallery, while the third part comprises a version of A Cathedral Dreamer displayed on the Metropolis Opensim Grid.

The Installation comprises five distinct elements. There is a central arrival plaza, which is largely devoid of distinguishing features, symbolic of, Gem tells us, “the choices which each of us inevitably has to make about the various attitudes towards Life, the world and other people.” Surrounding this, and connected to it by individual paths, are four great exhibition halls, which the artist advises people to visit in the specific order of East, West, North and South.

The East hall, reached by a path which is increasingly given over to grass and plants, presents a submarine environment, sunlight falling into it from a dappled surface of waves high overhead. Here the images are strongly evocative of coral scenes, as fish and other creatures of the deep circle and swim. It is a place devoid of human presence; a place, Gem states, which “is the domain of the present and permanency at the same time.  It is also the evocation of the contemplative attitude of Man before Nature.”

To the West, within what might be an old, abandon warehouse, lay works representing humankind’s industrious nature, featuring huge and complex constructions and buildings of immense size and complexity – but all suffering from decay. From the roof hang a series of cages in which are set a number of human figures in evocative poses. Each of these conveys its own pathos, drawing the observer into its world in a quite powerful manner. This is a setting designed to evoke “the human society which takes, in its whirlwind, the individuals who are the actors and the slaves.”

The hall to the North is more hopeful, containing images of a possible future, focused on a grand and ambitious design, a great cathedral, designed to awe and overwhelm in its sheer beauty. However, one only has to examine the onlookers and the forlorn figure of the designer, seated with his back to the wall, head cradled in his hands, to know this great vision will never be achieved; it is simply to overwhelming.

Finally, to the South lies the future; a place of lines and light, which the artist describes as being, “beyond Time, beyond the world and beyond human activity.  A universe of pure concepts which evokes the domain and the activity of the spirit, and which everyone will fill with one’s own faith.” Take your time exploring here; there is more to be seen than might at first seem apparent.

The fractal images on display in the three halls are stunning in their depth and detail, deeply evocative and completely captivating in both their design and their beauty – even those representing decay and loss. The stories present within the halls – particularly the West and North halls – are also very emotive, drawing the visitor into them, encouraging careful observation in camming around if everything is to be captured fully and properly.

Four videos have been produced alongside the exhibition – the full listing is in the note card – and these are also striking in their grandeur and execution, featuring carefully considered music tracks. Pasting the links will play the videos in full-screen HD mode – and they really are worth watching; the marrying of soundtracks to images is simply superb. I’m including one here – make sure you play it full screen and set it to 480p.

A Cathedral Dreamer opens at 14:00 SLT on Monday January 6th, and will remain open until the end of the month. Recommended.

Related Links

• A Cathedral Dreamer SLurl (Rated: Moderate)
• Gem’s gallery in-world – Timamoon Arts

In December, I wrote a piece concerning Asterion Coen’s full sim installation formerly at LEA28. While I do admire Asterion’s builds – as I said in that article, they are a veritable tour de force of prim construction, and clearly demonstrate that the prim is far from dead as a building material – the installation itself appeared to be bereft of purpose.

As such, I wondered at the time I wrote my review as to the purpose of the installation, and the ideal behind it; questioning whether things had gone a little off-course due to something like a lack of cohesive guidance from the LEA or some other issue had caused the purpose of the installation to have become a little lost.

Asterion has since contacted me on the matter, and his comments have helped put things into a better perspective. Here, printed with his permission, is what he had to say:

About the content itself, The project should be as described in the LEA form, but some unwanted and unavoidable RL issues in my company meant I was unable to spend time on my SL projects (LEA and others).

If the LEA28 sim looked unstructured and just showroom, with lot of parts everywhere, it’s because I didn’t have time to finish everything as I had little time available for SL. Things were made worse because an inventory issue meant I lost a number of sections for the buildings. The military vehicles, for example, were to be a part of a museum I originally built for Bourbon Island [now apparently closed], but which vanished from my inventory.

Those issues, in addition to my RL ones, made it impossible for me to finish the sim. Had the time been available, there would have been another platform about space and an underground moonbase (in lava tubes). This platform would have been accessed via a shuttle, a lift and other vehicles. The project would have meant people would not be allowed to fly, and would be asked to move around using the vehicles provided and along designated paths.

We can never predict how RL will impact our SL times and work; when matters take an unexpected turn, sometimes we have no choice but to re-prioritise and deal with some matters later. In Asterion’s case, problems with RL appear to have coincided with a period of his SL life that was especially busy, and unfortunately, the latter suffered.

While it would be easy to second-guess what might have been done differently or how things might have been handled better, the fact is that at the time, things were dealt with in the best manner that appeared to be possible. The result was less than satisfying for those of us visiting LEA28 and equally – if not more so – for Asterion himself.

For my part, I’d like to thank him for taking the time to contact me and let me know more of the circumstances surrounding the installation at LEA28. I certainly and sincerely hope that real life does settle down positively for him in 2014, and look forward to seeing more of his creations – particularly those with a “space” theme (!) – within SL in the future.