Soulstone’s touch of sci-fi and art in Second Life

Soulstone, July 2024 – click any image for full size

It was back to Soulstone, the Full private region held by Valayra Asher (Valayra), for me, and a place I last visited in February (see: A belated appreciation of Soulstone’s winter beauty in Second Life). Since that time, the region has once again had a make-over; this time bringing us a distinctly sci-fi setting which folds into itself an element of art visitors might appreciate – although I’m admittedly uncertain as to how long the setting will remain in place,.

The setting has a distinctly Star Wars feel to it when first arriving, the About Land even referencing Tatooine; it is akin to arriving within a district of somewhere like Mos Espa, containing as it does elements mindful of both The Mandalorian and The Book of Boba Fett. However, to say the setting is intended to represent any specific location on Tatooine or from the Star Wars franchise in general – films or streaming shows – would be a mistake. The look here is more general in nature, including as it does references and hints to broader media sci-fi themes.

Soulstone, July 2024

The public area runs entirely up the eastern half of the region and also encompasses the north-west quarter. Separated from all of this by slender ridges of sand is the south-west quarter of the region, which is given over to what appears to be a private home. So, if I might borrow from another science fiction classic (if one that is terribly underrated due to its source material): “all of this region is yours to explore, except the south-west corner. Attempt no landings there.”

The landing point is located at the entrance to a bar – I hesitate to use the term “cantina”, as that word carries with it certain expectations given the Star Wars inspiration for the region, and the place inside the doors by no means seeks to replicate the place visited by a certain young Skywalker and his elderly companion. Rather, it has a look and feel – and touches of humour – all its own, with the humour starting at a sign bearing a “quote” next to the front entrance:

Trust me, you can dance.

– Alcohol

Soulstone, July 2024

The bar is located to the north-west of the setting, which is the most sparsely populated part of the town in terms of buildings. One of these offers a touch of science fact to mix with the sci-fi, coming in the form of a holographic display of our own little dwarf planet Pluto (technically a Kuiper Belt object, thus causing its formal reclassification in 2006). This shares the space within the building with what might be regarded as the first of the setting’s art displays.

Outside, away from its covered entrance, a strange convoy of elephant-like creatures carrying what appears to be robots on their backs is passing. It form a more visible (on first arrival) statement of art, and one that occurs elsewhere in the setting as a kind of motif. It is also one which, at first glance, put me in mind of Haveit Neox’s work; although his is purely coincidental.

Soulstone, July 2024

The caravan appears to be heading for the largest and tallest building in the setting, which forms a combination of art gallery and hotel, the former offering digital 2D art inspired by Star Wars. The latter offers multiple levels of accommodation of a form Tech 49 (or 52, depending on your point-of-view) Jack Harper might well feel at home within, given the general styling if not the overall presentation. Landing pads on the uppermost level offer what is presumably private parking for residents who need it for their spacecraft.

The hotel isn’t the only place with room for spacecraft. To the south sits a hanger / landing bay which, whilst in no way resembling it, brings to mind Peli Motto’s hanger and maintenance facility as most frequently seen in The Mandalorian. Close to this is a large, open landing facility sitting atop a flat rock, which offers a hint of franchise cross-over as it is home to a vehicle quite clear based on the Danube class of Starfleet runabouts (as particularly seen in Star Trek: Deep Space Nine.

Soulstone, July 2024

Whilst this craft here is in no way representative of Starfleet or the Federation, it did remind me of wry comment on the part of one Major Kira Nerys concerning this much put upon class of vessel: “You know, the rate we go through runabouts, it’s a good thing the Earth has so many rivers.”

In terms of art within the setting, and in addition to the elements already mentioned, visitors might find pieces by Bryn Oh, Fresh3D (also responsible for the elephant convoys), DRD (Deathrow designs), Ini (in Inaka) – together with an accompanying 3D element stacked by Valayra, and Pira (Igor Novikov).

Soulstone, July 2024

Also awaiting discovery is what is either a laboratory overseen by little rabbit-eared robots or what might actually be some form of medical centre (at least going by the red crosses on the gallery level beds (assuming the red cross is universally translatable!). A further reference to The Mandalorian can also sort-of be found here. In addition, some of the buildings include various figures from Star Wars, and walkers possibly inspired by the franchise can be found going about their business in the dusty streets – although they may at times have to duck to avoid the lasers which are firing up into the sky from next ground level in a couple of places.

Throughout all of this are numerous little touches that might help further delight the eye, whilst the default environment setting and the use of both local sounds and – here and there – media – further add to the experience. The setting also lends itself to custom EEP settings for those who like to use them, as I hope at least a couple of the images here demonstrate.

Soulstone, July 2024

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Bryn Oh’s Skyfisher in Second Life

Bryn Oh, Skyfisher, July 2024

July 6th, 2024, saw the opening of the latest immersive installation by Second Life’s foremost and award-winning multimedia and immersive artist, Bryn Oh.

Herself a digital alter-ego – or perhaps digital incarnation might be a better term – of a Toronto-based artist; although I suspect they would prefer to consider Bryn as a personality with standing in her own right and as unfettered as possible from any sense of human identity. Given Bryn’s success over what is more than 15 years, and the recognition her work has gained in digital, virtual and physical spaces – including her work being the subject of a course taught at York University,  Toronto since 2020 -, this view of her being an independent entity is not unreasonable.

Bryn Oh, Skyfisher, July 2024

Much of Bryn’s work exists not only in the virtual, but within a universe of her own creation, stories, themes and characters all wrapped within a unique timeline and travelling through environments and worlds throughout unique yet interconnected. They are also individually and collectively – if to a defined degree – reflections of elements from Bryn’s physical world incarnation.

All of the stories and characters are pieces of my life, and the characters are often portions of my personality. It is like a diary of sorts that takes place in a parallel world to our own where technologies advanced at different speeds.

– Bryn Oh

Bryn Oh, Skyfisher, July 2024

I have been fascinated by Bryn’s work for more than a decade, and have at times attempted to plumb the depths of her work – perhaps at time making presumptions with which she might not agree but has always had the grace not to single out. In 2020 she was certainly kind enough to to discuss her work for this blog (see: Hand and the art of Bryn Oh – in her own words).

With Skyfisher, Bryn presents another chapter in the unfolding stories of some of her familiar – for those who have followed her work  – characters in a further expansion of her universe, which also sees the return of a number of settings and motifs. As such, it is perhaps not so easy to follow in all is complexities as a pert of an ongoing series; however, it is not unfair to say that it also stands – as all of Bryn’s installations do – on its own merits as a story.

Bryn Oh, Skyfisher, July 2024
The Skyfisher wore a headdress fashioned from deer antlers and twigs. Strings with fishing hooks attached hung from them as she walked slowly down the street towards the spot she had gone to many times before. It was an area where winds converged. Gusts from the rooftops and breezes snaking in from the alleyways all met to make a whirlpool of air that lifted the hooks and strings above the ground. They floated behind the Skyfisher, like a sharp nimbus.

– Bryn Oh, The Skyfisher

For those who do wish to recap – as the saying goes – on “the story so far” (although in this case it is more a matter of understanding the backgrounds to some of the characters and the universe as a whole), then Bryn provides a list of videos which encompass the essential storylines, and which I’ve taken the liberty of listing below.

Bryn Oh, Skyfisher, July 2024

In addition, Bryn also recommends watching Standby (2013), a trio of poetic narratives.  To this, I’d also suggest those who really want to gain insight into Bryn’s worlds, I’d suggest a run-through of her own multi-part commentaries.

Bryn Oh, Skyfisher, July 2024
As with The Brittle Epoch, I don’t want to delve into the story of Skyfisher too much; it is a naturally unfolding narrative in which visitors once again follow Flitter and her friends through something of an adventure as they follow the title character through a unique cityscape.

It is essential visitors use the shared environment, and have media enabled and on auto-play; the installation both has unique sound effects and features an English language narrative, once again recorded by Kaneha Atheria.

Bryn Oh, Skyfisher, July 2024

The latter can be heard on entering locations where it is available, or by clicking the white circular “speaker” buttons found at such locations. For those who prefer and / or form whom English is a second language , notecards containing the narrative which can be read or copy / pasted into a suitable translation tool. Click the glowing moths located close the the speaker buttons to obtain the notecards.

I would advise visitors to take their time exploring the routine through the various settings; there is a lot to discover in addition to following the main narrative, some of which might be obvious, some of which – such as various poems by Bryn – might be easily missed (such as the one in a photo booth). There are also references to Bryn’s wider universe waiting as well.

Prize Draw

Bryn Oh’s The Dancer

To mark the opening of Skyfisher, Bryn is holding a prize draw featuring one of her sculptures, The Dancer, valued at US $350. Details are as follows:

  • Tickets can be purchased via the Marketplace at a cost of L$300.
  • The draw will be open through until July 31st, 2024, when the winner will be picked at random.
  • The winner will be contacted, and will need to supply a shipping address. Bryn will ship the statue at no charge to the winner.

The Dancer is cast in bronze and stands approximately 15 cm (six inches).

Rich is story and detail, Skyfisher is another engaging, immersive and presenting a rich tapestry of characters, events and Easter eggs for following of her tales, and one deserving of the time given to exploring it.

Bryn Oh, Skyfisher, July 2024

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Of Angels of Pain in Second Life

Angel of Pain, July 2024 – click any image for full size

The subjects of BDSM and D/s are not to everyone’s taste, and given this broad cross-section of readership I’m fortunate enough to have with this blog, they are areas I only occasionally cover when it comes to places in Second Life to visit (for example, Athenaeum, which I’ve covered a few times in these pages). However, there is one I’ve been meaning to cover for a while is that of Angel of Pain, a Full region held by fellow Second Life explorer and blogger, Susann DeCuir, and I find it both engaging and unique in looks.

As one might expect from a seasoned traveller with an eye for region designs and an accomplished Second Life photographer as Susann undoubtedly is, as well as being focused on Adult activities, Angel of Pain is also exceptionally photogenic and extremely well laid out, offering a good mix of ground level public spaces, all nicely interconnected through the landscaping and design, with more private areas – vignettes, you might say – occupying platforms in the sky, where the regions landing point and its associated locations and the Angel of Pain club might be found.

Angel of Pain, July 2024
Angel of Pain is built on a complete region. Here you can find many different ways to enjoy yourself. From soft to hard, everything is included for our guests. At the main landing point you will find a teleport board on one of the walls. There you can also find a dating service, teleports to other friendly sims, a group gift.

– Susann’s introduction to the region

The landing point offers general information on the region and its supporting in-world Group, teleport / landmark givers to various other regions in Second Life, links to the Angel of Pain Flickr group (membership required), Facebook page and to Susann’s blog, and the group joiner. Also to be found here is the region’s main teleport board and corridors leading the art gallery – which was at the time of my visit featured images by Ludi Taurus (due to run through until July 25th), and the Angel of Pain Dating Bar. The latter is a large space with central bar, a stage, seating areas and spaces for adult / BDSM play.

Angel of Pain, July 2024

The teleport board provides access to all of the locations to be found within the Region. Several of these are located in the sky – as noted – with the rest on the ground. As the latter can all be reached by following the well laid-out paths around the region, I recommend you select the option to jump down to Angel of Pain Ground, and follow the paths and trails from there and use the teleport boards found throughout to reach the locations in the sky.  Prior to taking the teleport, however, I would further strongly recommend you have your viewer set to Use Shared Environment as this does change to suit places as you explore; you should also enable local sounds.

The arrival area on the ground is close to a large mansion with a casual pool and seating area to the rear. The mansion, with a foyer containing a pool of its own flanked by two other rooms, carries on with a theme started in the main landing point sky platform and found throughout the region, and which I found particularly attractive, artful and effective: Susann’s use of greenery: vines, plants, shrubs and grass / flowers inside building as much as outdoors.

Angel of Pain, July 2024

The mansion sits with its back to a broad channel cutting into the landscape from the north, running first south and then west, where it slims before exiting the region to the south as a narrow neck of water. With a second channel branching to the east, the water divides the landscape into two large land masses and a smaller island, bridges linking them together.

To the front of the mansion as it faces south, there is a terrace overlooking the southern lowlands and coast, with two paths reaching out and down to these lowlands. One of these paths runs down to a north-west headland sitting between the mouth of the channel and a small bay on the west side of the land. the headland is planted with laurels above which lanterns float, whilst the path passes under a torii gate and runs to a cluster of three Japanese-themed structures forming the Shibari House.

Angel of Pain, July 2024

Meanwhile, and to the east, the path runs down to the narrow neck of the channel splitting the land, passing a gazebo along the way and then hopping over the water via a little hump-back bridge. From here it continues on through a wild garden and climbs steps up to the Church of Pain, thence onwards to the Tower with its multiple levels of play areas and open-sided wooden decks, and finally crosses another bridge to the small island and the ruins and decks located there offering further bondage play areas.

If one misses the path down to the little hump-backed bridge, the path will carry them to Pleasure in the Rain, a barn sitting in its own rainstorm and converted into a cosy little hideaway with a parasoled hot tub outside. These are not the only locations at ground level, but I’ll leave you to discover the rest should you choose to visit.

Angel of Pain, July 2024

Using the teleport boards will provide access to the more personal spaces: the Bathhouse and Garden, the Library, the Interrogation room, the two Dungeons, the Loft, Sex Adventure, Secret Room, Red Room, D/s Heaven, and Lounge. Some of these have uses that are obviously described in their names; with others, the potential use is perhaps less clear – but some have the sense of been connected to one another, even though there are located in different parts of the region. The Loft and the Library, for example, are not directly connected, but the have a feeling of being part of the same building.

Also to be found in the sky is the Angel of Pain Club. This continues the theme of using trees and shrubs as well and the hints of a religious motif (as with “angel”) by being built in a church-like building and having winged demons and statues of robed figures. Caught in a red environment setting (again, be sure to have Use Shared Environment option in the viewer) and with red the predominant décor colour, and decorated with themed images, the club has an atmosphere quite apart from the rest of the region and its various locations, one with is both inviting whilst the pentagram on the floor and the demon figurines give it a darker twist.

Angel of Pain, July 2024

Tasteful, with plenty of indications of its D/s BDSM theme scattered throughout the ground level settings without overly intruding into any photographs one might take of the setting unless wanted, Angel of Pain is very much an Adult playground – but one that is also richly landscaped and photogenic. The smaller, more themed areas in the sky, meanwhile, offer opportunities for more private and personal times whilst also providing potentially ideal environments for more erotic photography.

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A Sugarfish Gallery in Second Life

Sugarfish Photography, July 2024: Alex Riverstone

Whilst I’ve been familiar with the photography of Alex Riverstone for a fair while and have covered his work in these pages, I hope he’ll forgive me for the fact I hadn’t twigged he’s now curating his own gallery space – Sugarfish Photography – which is currently home to a selection of his own work and a joint exhibition featuring both Alex and Harlo Jamison (HarlowJamison).

Located on a sky platform, Sugarfish Gallery featured four exhibition spaces gathered around a central terrace / event space for opening parties. It’s a simple, minimalist design which allows each of the gallery units to present the art it contains to the best advantage, naturally allowing works to be grouped by artist and / or theme as required, with each building a short walk from the last.

At the time of my visit, Sugarfish was mid-way through the joint exhibition by Harlo and Alex, entitled Shades of Erotica (set to end mid-July 2024). Occupying three of the four gallery spaces this is, as one might expect from its title, an exhibition leaning strongly into erotica and adult themes, with some of the images definitely in the not suitable for work (NSFW) category – so if you are of an overly sensitive disposition, please consider yourself warned. The remaining building is home to a cross-section of Alex’s landscape photography.

Sugarfish Photography, July 2024: Alex Riverstone

I’ve always appreciated Alex’s landscape photographs from around Second Life; he has a knack of capturing the essence of a location and / or presenting the core of an idea through pieces that are framed and cropped in a manner that is visually attractive. A further facet of Alex’s work is his use of style – colour, monochrome, black and white – in which to present a mood or sense of emotion. All of this is very much demonstrated in the selection of pieces displayed at Sugarfish, the pieces within the hall neatly grouped by theme or style.

Alex’s art also feature in two of the three halls given over to Shades of Erotica (with one of the halls also forming the Sugarfish gallery), with Harlo’s taking up the remaining hall.

Sugarfish Photography, July 2024: Shades of Erotica – Alex Riverstone
An exhibit of erotic and sensual Second Life photos … Join us for an exploration of sensuality, let the images speak to you, inspire you, and awaken your senses. Whether you’re a connoisseur of photography or simply seeking to be moved, this showcase promises something for everyone.

– Alex Riverstone on Shades of Erotica

Given the nature of Shades, these are avatar-centric photographs, with Alex’s pieces offering what might be regarded as sets built along interconnected themes and utilising (I believe) the same model. Outside of the use of nudity / semi-nudity, these are pieces touching upon common themes of erotica activities: clothing (boots, stockings, latex clothing, heels); activities (D/s games, bondage), and the the use of pose and focus to offer a feeling of sensual suggestion.

Sugarfish Photography, July 2024: Shades of Erotica – Alex Riverstone

With her pieces, Harlo explores similar avenues, whilst also offering pieces of a more narrative style in terms of how they might be interpreted, as well as enfolding elements of eroticism and sexuality drawn from a broader canvas (so to speak).

Whilst not the first piece within her gallery space, Red2 Shadows Him helps set the tone of Harlo’s pieces. It sits on the left wall of the hall relative to the entrance, and thus sits close to one of the rooms displaying Alex’s art. It features a model seated on a stool, front lit and casting a shadow. In this it follows on from a series of images from Alex on the same lines (Shy Model). Here, and unlike Alex’s pieces, the silhouette of a male figure  dominates one side of the photo. Thus, Red2 Shadows Him offers both a narrative in its own right and also sense of continuity between the two artists’ work in both content and titles (Shadows him = follows Alex’s images).

Sugarfish Photography, July 2024: Shades of Erotica – Harlo Jamison

These dual-layer narrative can be found elsewhere in Harlo’s selection. Gentlemen & BadBoys, for example, both suggests the making of an erotic ménage à trois whilst also hinting at the issues of temptations which might be prevalent in relationships (the woman’s hand reaching back for the the man behind her even as she is hugged by her lover. Meanwhile, Ladies & Harlo’ts, only offers a tongue-in-cheek play on Harlo’s name, it offers both a tale of refined sensuality touching on three people, whilst the black and white finish and clothing carries is suggestion of harking back 100 years and a period when taboos started to be broken more openly, even if they weren’t entirely broken down for many more decades to come.

Elegant, explicit, sensual and sexual, Shades of Erotica is engaging through out.

Sugarfish Photography, July 2024: Shades of Erotica – Harlo Jamison

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Wandering in The Magic Hour in Second Life

The Magic Hour, July 2024 – click any image for full size
This magic hour is cherished by photographers and filmmakers for the quality of the warm natural light that enhances images with a dreamy, nostalgic glow. It’s a fleeting moment that many visitors find inspiring, as it casts our world in a transient beauty that’s perfect for creating emotive imagery. 

– The Magic Hour Destination Guide description

It’s taken me a couple of visits to The Magic Hour in order to write about it – the first being a brief hop in mid-June, and the second at the end of the month; ergo, I’m hoping this piece doesn’t arrive shortly before the region gets a make-over – if it does, my apologies to Six (SixDigital), the region’s creator, and to those visiting and expecting to find it as described here.

The Magic Hour, July 2024

Six – along with Justice Vought – is one of the talents behind the former Oxygen region designs, which I wrote about in 2019 and again in 2021, a place which had a deserved reputation for being thoroughly photogenic. The Magic Hour is in a similar vein in this regard, offering beach-front setting backed by tall hills up to which the landscape climbs, the entire setting rich in opportunities for avatar and landscape photography.

The landing point sits midway between the east and west limits of the region and is tucked back toward the northern foothills as the start their climb to the off-region mountain adjoining them. Taking the form of a small beach house facing south towards the open sea, the landing point sits close to a large pool of clear, fresh water, the home of koi carp watched over by red-crowned crane. Beyond the pool, within its little island reached by a tree trunk bridge is a small house. I believe this might is a private residence when occupied by Six, so please keep that in mind when visiting.

The Magic Hour, July 2024

The southern waterfront is a mixed affair, partly sandy, a little scrubby and partially rocky, its western extent a grassland headland partially ringed by a breakwater. It is home to a stripped lighthouse, the grass around it well suited to grazing. On the eastern side, a low sandbar points out into the sea, the home of the wooden frame of a summer house, the wall and roof shingles yet to be placed (if they ever will be), the dedicate folds of net drapes instead providing a mottled shade for the sofa, tables and planets within.

Between the sandbar and the lighthouse, four slender fingers of rock point outwards from the shore, thin breakwaters made from large stones worn thin by the sea so they now resemble rough-edged that have been loosely stacked out into the water like thin strands. between the last of these and the lighthouse headland, the shingle and rocks have built up into area of shallows, several large grey boulders rising from the water like petrified sealions.

The Magic Hour, July 2024

Inland from the lighthouse stands a small wood. It surrounds the ruins of a chapel which in turn contain their own secrets and sense of fantasy. Beyond them, a waterfall feeds the land where deer and fae folk might be found.  A trail from here winds through the tress and down to where the grass rolls back towards the sands on which the landing point sits, presenting a pleasant walk between it and the chapel.

This is a simple, relaxing setting with multiple places where people can sit and contemplate or talk, or which lend themselves to photographs. As well as the deer, water birds and horses are to be found, while am ancient stone gazebo holds another little touch of fantasy and a further place to sit.

The Magic Hour, July 2024

Finished with a gentle soundscape and environmental settings in keeping with the ide of an early morning, The Magic Hours as a quiet, somewhat enchanting visit.

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Summer Vibes at Onceagain in Second Life

Onceagain Gallery, July 2024: Summer Vibes – Scylla Rhiadra

On 30th June 2024, Summer Vibes opened at Onceagain Gallery curated by onceagain (manoji Yachvili). A celebration of summer time and all it might bring, the exhibition features art by six Second Life artist-photographers: Onceagain herself, Kian (random26356), Terrygold, Rita Glad, Deluna (Sophia Galewind), Scylla Rhiadra, Maddy (Magda Schmidtzau) and Moki Yuitza.

This is an exhibition where the setting plays a role as well as the images; Onceagain has redressed her region – which I wrote about in its own right in May – as a summertime  beach / coastal setting. The sand rises and falls, water cuts its way into the landscape and across the beaches, dunes and rocks, stand various structures, many built out of shipping containers, which also form several bridges across the water channels cutting into the region.

Onceagain Gallery, July 2024: Summer Vibes – onceagian

The landing point sits alongside a collection of trailer homes stacked up in a manner a little mindful of Ready Player One, together with containers which shelter Onceagain’s images. These for a lovely collection of works linked by themes (or shades, if you prefer) of blue whilst presenting images of summer fun and activities at the beach or in or by the water.

Proceeding clockwise from here and over the sands and harder-packed ground will bring you to another shipping container in which lies a selection of pieces by Maddy. These feature a mix of images and the colours of summer, several of which I believe might be AI generated. From here, and passing by way of one of the container bridges, visitor come to a trio of gallery spaces.

Onceagain Gallery, July 2024: Summer Vibes – Terrygold

Sitting over the water is a pier with a multi-level structure at one end housing Terrygold’s work. Two of the level here are connected internally by step, whilst the uppermost must be reached from outside. All three house images and studies of summertime times and hints of the time of year offered in Terrygold’s inimitable and attractive style; individual pieces each with a story to tell in its own way, complete with hints of summer and / or summer activities.

At the top of the hill, Moki uses her space to present a series of genuinely minimalist studies focused on her avatar, together with a set of richly coloured pieces. The sets are effectively split between levels / “rooms” in the space, allowing etc grouping to be appreciated. The individual pieces are again strong in story – although I admit to being drawn to the elegant depth of the more minimal pieces – particularly Sand and Mirage.

Onceagain Gallery, July 2024: Summer Vibes – Moki Yuitza

Below Moki’s are is another container featuring Kain’s work. I’m not sure I’ve actually witnessed his photography before, but I have to say there is something very endearing about these pieces and the slightly tongue-in-cheek manner in which he presents memories of Regions Past in Second Life. These are genuinely delightful poster-type images with text that both point to their source location and offer a winking smile of humour from the artist. Kian’s Travel Agency is certainly a “business” worth visiting!

Another trip over water – this via wooden bridge – provides access to Rita Glad’s exhibition and Scylla’s. Rita is another artist with whose work I’m not familiar; I found her pieces here vibrant in their use of colour and also joyous, reflecting one of the major emotions experienced the the young and the young at heart when visiting the seaside.

Onceagain Gallery, July 2024: Summer Vibes – Scylla Rhiadra

Occupying a single-level building apparently build out of sun-bleached plywood, Scylla’s art once again engages and challenges. As I’ve oft mentioned,  Scylla is a photographer-artist who truly understands the art of gentle suggestion; her images stand as single-frame stories such that even when joined by a central theme, each remains independent of its fellows as it whispers to us. but what that might be is entirely personal and subjective, the combination of image the the words Scylla has selected to go with it tweaking the imagination and forming ideas in ways that are unique to each of us.

I could happily wax lyrical about Scylla’s work; the use of visual and written metaphor, the subtle referencing through lines of text and composition of images. But I won’t here; suffice it to say the pieces displayed here are richly evocative, and I particularly enjoyed Lost In and the use of lines from Eliot’s The Dry Salvages. (The Four Quartets being one of my great loves). There is something quite marvellous in the back-and-forth play of metaphor and idea evident between the lines of the poem and the image itself, serving to underline the truth of Eliot’s commentary that, like it or not and no matter who we are or where we go, our connection to the natural world cannot be broken.

Onceagain Gallery, July 2024: Summer Vibes – Kian

Which leads me (by way of another container bridge) to Deluna’s selection of pieces. These form an intriguing set, on the one hand, each has a clear form and interpretation, one in part offered by its title. On the other, the presence of a poem by Carlo Betocchi brings to mind the subjective imagery of the hermetic poets wherein the sound of the words forming the poem are as important as the meaning of the words in bringing forth a personal understanding of the poem. The presence here of Betocchi’s work suggests that each of the images offered by Deluna has more to say to us through the its use of colour and individual elements as much as by its overall framing and cropping.

In all, an engaging and engrossing collection of art.

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