Monocle Man Gallery: Vanessa Jane – The Fading Year
Now open at the main gallery at Monocle Man, is an exhibition of Second Life landscape photographic art by Vanessa Jane (VanessaJane66). While Vanessa does not limit her photography SL landscapes, it is this aspect of her work that I particularly admire, so I appreciate any opportunity to view and potentially review her exhibitions.
Entitled The Fading Year, the exhibition at The Monocle Man features images of the latter half of the year, with the autumn months located in the lobby area of the gallery and continuing up the stairs to the smaller of the two exhibition rooms, while the main galleried hall is devoted to regions caught in the midst of winter.
Monocle Man Gallery: Vanessa Jane – The Fading Year
Thus we have fields of fall’s gold (to play slightly on words), streets where leaves skitter in the breeze across cobbles or are pinned to the surfaces of roads by the rain, and crops await their harvesting; all separated by a short step from foggy winter mornings, trails blankets by snow, trees dusted by frost and lodges overlooking frozen lakes.
Presented in a large format and available for sale, these are pieces perfectly capturing autumn and winter and all that might be considered romantic about them. Each piece is cropped and framed to near-perfection (with some simply sublime in their framing – like The Horse through the Trees), and very much suitable for hanging in any Second Life home. Some of the regions in which they were taken will likely be familiar to Second Life travellers, other perhaps less so; however, whether the location itself is recognised or not doesn’t really matter; just enjoy the beauty of each piece.
Monocle Man Gallery: Vanessa Jane – The Fading Year
Goblin’s Knob, December 2024 – click any image for full size
I first wrote about Goblins Knob, a Homestead region designed by Tolla Crisp and her frequent region design partner, Dandy Warhlol (terry Fotherington), back in August 2024, not long after it had opened and a further element of Tolia’s Frogmore family of regions in Second Life (see: Wandering Goblins Knob in Second Life).
At that time, the setting was described by Tolla and Terry as being somewhat inspired by London’s infamous Pudding Lane (before the fire) mixed with elements of the Harry Potter and the Spiderwick Chronicles series. As I noted back then, whilst familiar with the latter, I’ve never read the former (nor even watched any of the films in full; I’ve simply never been a fan of the franchise or its author), and so required a degree of education on matters (thank you, again, Wilhelmina!) but thoroughly enjoyed my explorations.
Goblin’s Knob, December 2024
With the end of the year fast approaching, Goblin’s Knob has been redressed for winter and, whilst maintaining elements tying it back to the likes of Diagon Alley, it has also been redressed in places to better fit with the season. In doing so, it has the sense of becoming a more independent setting, unburdened by the former references, as reflected in the change to the region’s description since my August 2024 visit:
Welcome to the tiny village of Goblins Knob, a Frogmore Region, where the windows glow with a warm welcome and hearts are filled with the spirit of Christmas.
– Goblin Knob’s Destination Guide description
Goblin’s Knob, December 2024
For those who may have visited the August iteration of the region, the central canal remains, bordered on either side with houses and places of businesses. However, the eastern end of the canal now closed off, rather than passing under bridge and walkway to reach more open waters. This more easily links the two banks of the canal for exploration, although the large calibre cannon maintains a watch along the length of the canal from a rooftop above the cobbles now connecting the two sides of the waterway.
Also gone for this iteration are the balloons and dirigible that had been floating overhead, and the boats chugged the narrow, deep canal (and the waiting water monster!), leaving the latter as an uncluttered body of water.
Goblin’s Knob, December 2024
All of this, together with changes along the north side of the canal (and particularly to the north-eastern corner of the region) allow the setting – as noted above – to come more into its own as a singular location, rather than blending together various ideas (including for me at least what felt like a faint echo of Lovecraftian mystery). Meanwhile, the snow it blanketing rooftops, drifting along cobble paths and embracing open spaces as it falls silently from the sky, brings a new magic and delight to Goblin’s Knob.
This is place where the warmth of wintertime shines, despite the coldness of the setting. Light blazes from windows and doorways, carrying the promise of warm hearths and bright flames awaiting cold toes that might be wriggled before them, whilst partially-numb fingers might curl themselves around the gentle heat of a mug of hot chocolate supped from the comfort of a familiar armchair. Outside, sprinklings of seasonal decorations, the presence of snowmen, stalls selling hot roasted chestnuts and a slightly faded carousel guarded by colourful nutcracker soldiers, all exude a time-of-year warmth of their own to counter while might otherwise be air cold enough to fog breath and chill one’s insides.
Goblin’s Knob, December 2024
Close by the Landing Point, a musical clock plays Someone To Watch Over Me in a tinkling tinkling greeting to further turn thoughts of the cold to one side, the music occasionally accompanied by the happy trilling of a bird or two, as a brazier’s fire hisses and crackles in the background. The latter casts its glow over the chairs ranged next to it and the local wishing well, ideal for those wanting to take photos at the latter without feeling too cold.
Finding your way to all the locations in the setting can be a little confusing, but this makes exploring more fun. To get to the south-western end of the village where the old carousel resides, for example, it’s probably best to cross to the north bank of the canal and head for the stone bridge at its western extent and then cross back from there. Although that said, you could slither / slide down snowy rocks near the wind / watermill and that ascend stone steps and reach the same point, if you’re feeling adventurous.
Goblin’s Knob, December 2024
Getting to the skating rink is also perhaps easiest if you go through the wrought iron gate behind the Landing Point and make a right turn through a gap in the iron fence to follow a sort-of snowy trail back around and behind the houses to where the rink is tucked away. Whilst small and without a skates giver of its own, those with skates in their inventory might find it useable!
Throughout all of this are plenty of opportunities for photography, and I would suggest using the local environment when doing so, as it suits the overall ambience of the setting perfectly. Those wishing to rez props for photos can do so be joining the Frogmore group; as Auto Return appears to be turned off, however, do please remember to pick up your bits afterwards.
Luane’s World – Le Monde Perdu, December 2024 – click any image for full size
‘Twas off back to Luane’s World at Le Monde Perdu for me at the start of December, and a visit to LuaneMeo’s always-engaging public region.
As one might expect given it’s the end of the year, the region has been redressed for a northern hemisphere winter, with Luane working with Gorba McMahon to bring visitors a lot to see and do within and snow-covered landscape.
Luane’s World – Le Monde Perdu, December 2024
A white winter blanket has settled over Luane’s World, a Nordic-inspired haven with charming red houses by a frozen lake. Explore the illuminated Christmas market in the village, then take a chairlift to a cosy mountain bar. Ski or sledge through snowy forests and down to the rocky shore to uncover a stunning ice cave with a museum of ice statues. On the island’s other side, visit a quaint fishing hamlet with a rugged, captivating atmosphere. Wonders await—so wander, explore, and enjoy!
– Luane’s World – Le Monde Perdu Winter 2024 description
For this iteration of the region, the land forms and inverted U around a cold water bay, watched over from the south by two mountainous off-region islands. The landing point is located on the western headland, where stands a little Nordic-style village with something of a carnival atmosphere about it. A Ferris wheel offers rides, the houses are cosy and warm, and a little skating rink has been set-up, complete with little stalls selling refreshments and goodies to keep people warm, with plenty of seating scattered around.
Luane’s World – Le Monde Perdu, December 2024
Low-lying, the headland and village overlook the semi-frozen waters of the bay, with the second headland away to the east also marked by buildings, these built right against the shoreline. To reach them, people can either make their way around the region on foot (or using one of the forms of land transport dotted around!), or they can cross the bay directly using either an inflatable boat or – in quite a novel option – by taking a bumper car over the ice!
When crossing the water, I’d advise saying clear of the polar bears out on the larger ice floes; they might look cuts and cuddly, but my experience (such as it is) is that you can never be sure that if one mentions “lunch” to you, it is and invitation or a recognition that you’re edible 😀 .
Luane’s World – Le Monde Perdu, December 2024
The buildings on the far side of the bay form a little fishing locale; it appears to be largely closed for the season in terms of actual fishing, but the cabins are warm and the puffins are hopeful you might have a treat for them!
A well-defined track runs between the village and the fishing shacks, following the curve of the bay as it does so. Along the way, the path passes a chai lift climbing up the local peak. At the top, a bar awaits as Santa flies past outside, and people can catch a drink or head out skiing or sledding. Two routes for the latter ware available: either back downslope or a little backcountry skiing / sledding along the northern ridgeline of cliffs.
Luane’s World – Le Monde Perdu, December 2024
Another trail zig-zags down the eastern extent of the ridge, linking once more with the lowland trails and paths. Little cottages sit in the lee of the cliffs, each one offering a warm welcome – and one with a slightly lewd snowman outside! The last of these cottages forms a literal log house. It sits across the lane from a tall A-frame cabin, complete with a red and white jacket, pants and hat are drying on the line, suggesting that prior to taking to the air in his sleigh once more, Santa may have stopped off for a change of clothes!
Throughout all of this, the landscaping is simply perfect, the snow falls gently and the wildlife obligingly poses for photographs. As well as all the activities available, the setting offers opportunities to simply sit and pass the time, either indoors or outdoors, with some nicely tucked away for those wanting a little privacy.
Luane’s World – Le Monde Perdu, December 2024
Luane notes that PBR materials are used within the region, and the note suggests these may not have Blinn-Phong fallbacks; so if you are on a non-PBR viewer, you may see “missing textures”.
It’s always a pleasure to visit Luane’s world at Le Monde Pedu, so I have no hesitation in recommending it as a winter destination for your travels. While visiting, keep your eyes open for the little touches of humour scattered around – the aforementioned snowman, for example, together with the little birds dressed for the festive season; but most of all – enjoy!
I think that you will all agree that we are living in most interesting times. I never remember myself a time in which our history was so full, in which day by day brought us new objects of interest, and, let me say also, new objects for anxiety.
Some believe that the above quote is most likely the root for that hoary old “Chinese curse” may you live in interesting times – the “interesting” being an ironic metaphor for “times of trouble”. This is quite possibly apocryphal, given there is no similar curse in Chinese; however, Chamberlain’s original words have never really ceased to have meaning in the 116 years since they were first uttered.
Indeed, given the state of play in the modern world: wars, invasions, authoritarianism rearing its head even here in the west, pseudo-Christian nationalism, the open “othering” – or alienating – anyone daring to go against the perceived political doctrine. Perhaps more particularly, we are living in an age which is, more than ever before, being shaped by the second part of Chamberlain’s 1898 statement: we are faced with new objects of interest, which are increasingly new objects for anxiety, due to the way they have been used to amplify misinformation, divisiveness, false nationalistic pride and that over-arching alienation of differing values / belief systems / viewpoints.
Nitroglobus Roof Gallery: Adwehe: Alienated
In this, two of the most obvious objects of anxiety being used today are social media and AI. With its global reach and ease of availability, coupled with the relative ease with which it can be manipulated both directly (fiddling with the underlying algorithms) and indirectly (flooding with bots), social media is perhaps the most manipulated channel of mass consumption in the world today; whilst with its shallow artistic derivativeness and raping of genuine art, AI has become a primary means of reinforcing falsities through visual manipulation whilst corroding objective creativity.
It is thought like these which have been foundational to Alienated, an exhibition of art by Adwehe, which forms the final exhibition for 2024 in the main hall at Nitroglobus Roof Gallery, curated and operated by Dido Haas.
Nitroglobus Roof Gallery: Adwehe: Alienated
A multi-faceted expressionist artist working in 2D, 3D lighting, colour and sound, Adwehe uses Alienated to understand two intertwined ideas: the aforementioned ways in which tools such as social media are being used exploitatively for the benefit of a few and the detriment of the many; and her own entirely natural unease at the way tools such as AI all too often stifle genuine creativity and alienating us from genuine originality by presenting us with shortcuts to an end result by way of derivative re-use of elements and ideas appropriated by copying any and all digital images in the world.
The way in which she does so is through both artistic counterpoint and revelation through words. The images presented through Alienated are in no way dark or foreboding as one might expect from my statements above; nor are they laden with excessive narrative. Instead, they are rich in colour and free-flowing originality. As such, they speak out against the demands of black-and-white uniformity of thinking (where even grey edges of thinking are not permitted) and speak to the beauty of genuine creativity and artistic thinking AI simply cannot replicate – but all too often can smoother.
Nitroglobus Roof Gallery: Adwehe: Alienated
At the same time, the words of the accompanying text speak to the love / hate relationship which can evolve around such apps and tools. On the one hand there is promise of new worlds of information, engaging potential for expression and exploration of technique and abilities; on the other there is the fear of the unknown and the anxiety of having to “start over” when faced with a new tool and library of content, leading to a sense of self-alienation with one’s own creativity.
Thus, the text adds a further layer of meaning and insight / interpretation to Alienated, marking it as a multi-layered collection of images which are engaging both individually and within the overall context of the exhibition.
Gingerbread and the Woodies, December 2024 – click any image for full size
Gingerbread and the Woodies is the title Alpha Auer has given to her 2024 seasonal design for her Alphatribe Island. Alpha describes it as a “sort of” continuation of her Ragville – but if you didn’t see (or don’t recall) that work, have no fear: Gingerbread and the Woodies stands on its own two feet as a delightful place to visit.
Alpha notes that the installation is made possible through the support of Olympes Rhode – so to her also go thanks for making the setting possible. Alpha goes on to note that the setting is best seen using the supplied Shared Environment, Draw Distance set to 256 metres and that shadows are enabled in the viewer.
Gingerbread and the Woodies, December 2024
While I’d certainly agree that shadows and the Shared Environment are a must, I’d very politely disagree over the need to set Draw Distance to 256 metres; while the region has clearly been optimised to help boost performance, should you have a system that might get a little grumpy with things like frame rates at so high a setting, I’d suggest going for whatever your system can comfortably manage, rather than feeling you cannot visit on account of that setting.
Given Gingerbread and the Woodies is a seasonal setting, it should come as no surprise that it is a snowy location; possibly somewhere in the far north, or at least where the temperature is such that the trees have their trunks coated in frost, and the waters seem particularly cold.
Gingerbread and the Woodies, December 2024
The Woodies of the title are the local inhabitants of the land; they live in gingerbread and cookie homes – some of which are quite grand – and share the landscape with the local wildlife. They appear to be a hardy folk; despite the cold look of the sea, some have just returned from a voyage to collect more seasonal things to put out around their houses or perhaps with which to dress their gingerbread trees.
If any of the goods on the boat are to be sold, then the local market is likely where they’ll be headed; here to join all the pastries, cakes, wreaths and other goodies. And should you feel particularly taken by some of the offerings within the market – you can buy them as well; even Alpha’s raccoons, bears, squirrels and owls are available to be purchased and taken home!
Gingerbread and the Woodies, December 2024
The houses and Woodies are scattered through the setting so exploring is a must in order to see everything. Alpha suggests leaving the Sun as is within the environment settings, but I confess that for some photos here and when filming, I did move it a little.
There are some good opportunities for photography with the Woodies (they’re very friendly in this regard!), with Santa and a couple of his little helpers ready to pose with you. Rezzing is open for those wishing to use props – but while Auto Return is set (60 minutes), please remember to pick up after, rather then leaving them to be returned.
Gingerbread and the Woodies, December 2024
But really, this is a setting not so much for describing, but enjoying. As noted, the region is nicely optimised, so hopefully most folk can follow Alpha’s recommendations for viewing the setting when visiting. However, and as I also hinted at above, I did take the liberty of doing some filming whilst visiting – more of an entirely unofficial “teaser”, if you will.; I hope it encourages you to pay Gingerbread and the Woodies a visit!
Cica Ghost is back with a wintertime setting to see out 2024 with Snowflakes, and in doing so, offers us a little insight into the fact that even snow monsters appreciate a little warmth on cold winter nights when the stars shine brightly.
In a darkened world where hills rise like comical bumps a cartoon character might suffer after taking a bop to the head, birch tress point boughs bereft of leaves towards the nigh sky, as if trying to to pull down the blanket of stars to wrap around themselves and stave off the cold. All around, snowflakes drift towards the ground to join their siblings already there.
Cica Ghost: Snowflakes, November 2024
Night-time can be one of the most magical times to witness gently falling snow when the wind is calm and the air is fresh; there can be a wonderful sense of mystery, particularly when walking through wooded land – and believe me, as one who has partaken of late evening walks through the park adjoining my home, walking under naked tress and over the bridges panning the local stream, I speak from experience!
But here, among these trees, are other wonders to be found. This is because, with the Sun long set and darkness all around, the local snow monsters have come out. Although in fairness, “monster” here is more due to a matter of their scale rather than any wicked intent on their part. Indeed, and as noted all they are seeking a little of the forementioned warmth – both the kind born of a warm fire and the kind from friendly companionship – or having a little fun building a snowman.
Cica Ghost: Snowflakes, November 2024
These chaps clearly mean no harm (although beware the falling snowballs near some of them!); one even looks a little looks a little unhappy and lonely on the cold night, possibly because there’s a nice little house close by (one of a number sharing the landscape) which could well be a lot warmer inside than it is outside – but he’s a little too big to get through the front door!
For those who like a little fun, there are Cica’s dances to be found and a pair of “snow rollers” to ride around on. The setting is accompanied from a quote from Lorelei Gilmore from the 8th episode of the first season of The Gilmore Girls, A show I’d never heard of until reading the quote – and subsequently finding the episode – love and War and Snow – is one of the most highly regarded of the show’s entire run. However, it expresses the mood of Cica’s Snowflakes perfectly:
