Savoy Rooftop Gallery: Babs Belmonte – Atmospheric Second Life
Currently being hosted through until the end of August 2026 at the Savoy Rooftop Gallery, Creations Park is Atmospheric Second Life, a collection of photographs captured by Babs Belmonte (Babette Bellios) from across Second Life.
This is an engaging collection of 40+ images showing Second life in its many facets as a world of natural beauty by capturing popular locations across the grid and presenting them in a manner which encourages the eye and imagination.
Savoy Rooftop Gallery: Babs Belmonte – Atmospheric Second Life
Presented in a variety of styles from near-watercolour in look and wash (such as Deadwood, Forgotten Waters, and Still Among the Reeds) through to bordering on photo-real (e.g. Silent Anchorage, Towards Tranquillity, The Sentinels and Moonlight), thee collection is reached varied in its approach to its subject as befitting the nature of Second Life. In doing so, they also underscore the artist’s sensitivity to the places she captures and her use of both EEP and post-processing to create both mood and narrative.
The latter two – mood and narrative – is evidenced throughout. These are not only pieces intended to reflect Second Life, but to draw one into it; framing, cropping, focus all serve to generate a story behind each piece, one that reaches beyond its title to draw the audience into it. As a further individual example – The Quiet Way – it immediately draws the eye across the rickety bridge and instils a desire to see what lies within the grove of trees on the other side.
Savoy Rooftop Gallery: Babs Belmonte – Atmospheric Second Life
I have been capturing the beauty of Second Life through photography for several years, and I continue to be inspired by the incredible diversity I discover as I explore its ever-changing landscapes and communities. Every image is a reflection of the unique moments, creativity, and atmosphere that make Second Life such a remarkable virtual world.
– Babs Belmonte describing her Second life photography and her inspiration
Savoy Rooftop Gallery: Babs Belmonte – Atmospheric Second Life
I also confess to loving the appearance of photobombing within Welcome to the Beach. This is just utterly delightful and, being alongside the exhibition’s landing / entry point, it really opens the mind to appreciating all that Babs has brought together for this exhibition.
Loosely split into a series of themed elements – nature, seascapes, and the “artistic every day”, all of which flow one into the next such that they gently overlap rather than being rigidly demarked, Atmospheric Second Life is a richly engaging collection.
Savoy Rooftop Gallery: Babs Belmonte – Atmospheric Second Life
[REN] & Café Bar Manoaya, August 2026 – click any image for full sizeOver the past few years I’ve enjoyed occasional visits to [REN], an engaging parcel designed and held by Noa (Noa Cloud) in western Nautilus. For much of its existence it has been curated as a tranquil haven of imagination, a place to visit and appreciate, witness art or relax within on your own or with friends.
More recently, and due to physical world commitments, Noa has had to scale back on the overall size of [REN], reducing it (for the present, at least) to some 4,350 sq metres. This is more than enough, however, for [REN] to become the home to Café Bar Manoaya and to continue to offer a quiet retreat.
[REN] & Café Bar Manoaya, August 2026The café sits within a Japanese summer house set little back from a beach of golden sand, a ribbon of sunflowers hydrangea and wildflowers separating the one from the other. A terrace and flagstone steps form the public connection between the beach and café, with the terrace given over to cats and rabbits rather than the more usual tables and chairs to help maintain a feeling of space to breathe.
There is a gentleness to the parcel which helps encourage that since of peace and freedom to relax. A path circles the café, passing by way of a cluster of small waterfalls dropping gracefully into a rock pool to where tall curtains of bamboo have been pulled across the cliffs behind the café to soften their granite faces.
[REN] & Café Bar Manoaya, August 2026There is a raised platform at the back of the café for those who prefer sitting outdoors, green tea and shaved ice fruits treats waiting to entice.
More cushions for sitting outdoors can be found tucked between the rear wings of the café, and while it is possible that some of the feline patrons might either object to a human presence there – or demand payment by fussing them in return for intrusions into their garden space. However, two of them at least appear to have found a focus for attention which might preclude their interest in any human interlocutors (although the subjects of that attention probably wish this were otherwise, and the cats in question would indeed find more interest into and humans happening to sit down here!).
[REN] & Café Bar Manoaya, August 2026My favourite aspect of the setting, however, is the octagonal summer house on the east side of the the land and set slightly further back from the beach than the café. Within it can be found a kind of sanctum sanctorum for a multipotentialite whose interests encompass lepidopterology, national histories (notably South Africa and France) marine life, gemology and music. And there is something utterly relaxing in sitting there and listening to the cello music (whether or not you opt to try the cello yourself!).
Taken as a whole, Café Bar Manoaya and its surrounds make for a charming visit.
The Java Bean Café, August 2026
The same is true of a visit to The Java Bean Café, albeit for different reasons. Created and operated by Katie J. Ronas (Katrina Flowers), it is located on the central southern coast of Corsica, close to the waterway running up from Chopsaw to Skains. Despite the general sense of bustle to the area, it is a peaceful haven keeping itself tidily separated from any possible hubbub of boats arriving and departing the moorings just beyond its south wall.
Surrounded on three sides by waters flowing into it via a corner channel alongside those moorings, The Java Bean Café uses a curtain of maple, weeping willow and other trees as well as the noise-deflecting walls to offer a sense of cool detachment and peace from the more general goings-on beyond its boundaries.
The Java Bean Café, August 2026
A large deck extends out over the shallows of the waters to the front of the café, not as a place for small boats to come alongside (the entrance to the cove in which The Java Bean sits is guarded by a large semi-submerged rock to discourage this anyway) but to offer patrons outdoor seating and the opportunity to play table-top games or simply watch the floating lanterns drifting between the lilies guarding the waterside edges of the deck.
The café occupies a large, predominantly wooden framed and sided structure with large windows, high ceilings and skylights giving it a light, airy feel which encourages a sense of ease and desire to get comfortable with a really good coffee – particularly in the four deep armchairs ranged before the large stone fireplace (which would likely be a popular spot in winter!), whilst the back room presents a space for larger visiting parties to enjoy.
The Java Bean Café, August 2026
This a setting focused very much on the idea of a café being a social centre; a place to come to and spend time together without feeling the need to explore or to distract. True, there are the games out on the deck – but these don’t have to be be played; those who wish to to can sit at them, chat and watch the frogs hopping and round the lily pads and the dragonflies flitting around, deftly avoiding the attention of any of those frogs who might might be eyeing them as a possible snack.
Rounded-out by a summertime soundscape of singing birds (and croaking frogs!), The Java Bean is nicely presented and cosy.
Kondor Art Centre, August 2026: Janus Fall – Union of Opposites
Within Jungian psychology, the Union (or Unity) of Opposites – also referred to as individuation – is the idea that the ego, the conscious part of the personality that interacts with the external world, must acknowledge and integrate with the “shadow” – the darker, repressed elements of our personality – if we are to achieve balance within ourselves and so gain personal growth and fulfilment of purpose.
It’s a profound concept when you consider that most of our societies through history have been or are predicated on acceptance and rejection of both personality traits and emotional states, rather than seeking to integrate them. We are constantly told to only listen to our “better angels” and reject our “demons”; men are often expected to embrace strength (or stoicism) and reject weakness (or vulnerability), whilst women have often been expected to do the reverse: accept meekness and reject self-assertion, and so on.
Kondor Art Centre, August 2026: Janus Fall – Union of Opposites
In her remarkable exhibition Union of Opposites, which opened at the Kondor Art Centre on July 30, Janus Fall uses a series of captivating avatar studies to present the idea that beauty is found through the integration of opposing elements of our psyche and the harmony of contrasts. In doing so, she also explores the idea of individuation and reminds us of an important lesson.
Given that Second Life avatars remain very limited in their ability to non-verbally communicate much of anything let alone the workings of the ego or the inner “shadow”, the 15 pieces Janus presents nevertheless powerfully communicate of idea that the opposites and contrasts within us form a more unified whole.
Kondor Art Centre, August 2026: Janus Fall – Union of Opposites
They do so through a refined and quite captivating mix of technique and presentation, not just of the avatars themselves – in which expression is marvellously used, given the limitations noted above – but in the backgrounds and the use of colour and geometry. Each piece is a triumph of communication of the exhibition’s themes, whilst also standing as an exquisite work of art in its own right.
Accompanying the pieces are text elements. Some appear drawn from psychology / psychiatry, some from religious texts, some appear to be from Janus herself. All serve to to further challenge our thinking and perception of self and wholeness.
Kondor Art Centre, August 2026: Janus Fall – Union of Opposites
It’s been three years since I last covered an exhibition by Janus, and her work remains as powerful and thought-provoking now as it was then, carrying within it an inherent ability to present concepts, ideas and essays on the nature of self in a marvellously visual a manner.
Contemporary wisdom encourages us to “find” our balance and purpose by looking outside of ourselves, and that once found, that they are somehow immutable. Through Union of Opposites, Janus reminds us that balance and purpose come from within; that, like beauty, they arise from the constant integration of the contrasting qualities of our psyche.
Outpost Bay, July 2026 – click any image for full size
Update: both Outpost Bay and The Boathouse Café have closed, and Sorcha now has opened Stillwater Coast – read more here. SLurls have therefore been removed from this article.
In July, I visited The Boathouse Café, a charming setting designed by Sorcha Tyles under her Dutch Pavilion banner (see: More coffee and photos in Second Life). Well, Sorcha has been busy!
Paging through the Destination Guide I came across an entry for Outpost Bay, sitting within the region hosting The Boathouse, and which at the time of my last visit has been a private space for Sorcha. So, intrigued, I had to pop over and have a look.
Outpost Bay, July 2026
Listen to the gentle sound of waves and birds as you take a peaceful stroll down to the beach and relax by the vintage changing huts. When you’re ready, wander into the cosy Concept Store to pick up a fresh coffee, breakfast, and something good to read. Settle in at a table on the deck to enjoy the morning sea breeze, or head over to the lighthouse and take a boat out on the water. Outpost Bay is a warm, rustic place made for slowing down, unwinding, and living in the moment.
– Outpost Bay Destination Guide Entry
Outpost Bay, July 2026
One of the things I really appreciate with Sorcha’s designs is how she can take a relatively small space and turn it into something that is inviting and encouraging of visits.
The Boathouse Café, for example sits on 3120 sq metres; Outpost Bay is barely bigger, sitting on a 3136 sq metre parcel. Yet both are visually impressive and photogenic, carrying plenty of detail without either parcel ever feeling overcrowded.
Outpost Bay, July 2026
Given the two locations are within the same themed region (and sitting just across a water channel from one another), they share something of a similar look, both in terms of the flora and the buildings present on them.
This is not a critique: by using the same flora and similar architecture, Sorcha creates a sense of continuity flowing between the two islands – and with the rest of the estate. It also suggests that both islands were developed as little places of commerce around the same time, the buildings sharing ta wooden construction style as they were built around the same time and shared the same readily-available materials in the form of the trees growing on them.
Outpost Bay, July 2026
With Outpost Bay, the main building was once a warehouse-come-seafood market, the original signage conjuring images of fishing boats coming alongside and their catch going from boat through cleaning to sale.
Now, however, the building serves as a café-come-store (do note that the doors are phantom, rather than opening, so just walk through them). It’s a little tired inside, to be sure – perhaps a statement to its frequent use – but there is more seating outside on a wooden deck for those who prefer.
Outpost Bay, July 2026
The one exception to the dominance of wooden buildings in both settings is the tall white tower of Outpost Bay’s lighthouse. This looks out over a rocky corner of the island which might cause boats passing along the channel between it and the next island over.
With the lighthouse and café located on the east side of the island, the rest is relatively open as a wild garden which partially surrounds the cafe’s deck before giving way to a cosy beach alongside a short, rocky length of coastline.
Outpost Bay, July 2026
The sands of the beach is patrolled by godwits and watched over by ibis whilst offering humans a place to relax and enjoy the summer Sun.
There is a main path wandering through the setting, and it does so in a manner intended to reveal rather than simply lead, winding out from the cafe’s deck it gently reaches out to the lighthouse and the beach, allowing people to gently explore and discover many of the little touches Sorcha has placed around the setting.
Outpost Bay, July 2026
In all – and as I noted with The Boathouse Café – Outpost Bay is an utterly delightful setting with a lot to offer for those seeking to relax and those wishing to take photos. Individually or taken together, these are locations well worth visiting.
Nathhimmel – Sula Sgeir, July 2026 – click any image for full size
Sula Sgeir – or Sùlaisgeir in Gaelic – is one of the most remote isles to be found in the British Isles. Less than a kilometre in length and about 200 metres across including a headland, it is marked by high cliffs, frequently inhospitable weather, and remains uninhabited by humans for most of the year.
The island is most famous for its population of gannets, and (more infamously) for the annual autumnal ‘guga’ hunt for young gannets by men from the Isle of Lewis, 70 kilometres away, where the bird is considered a delicacy.
Nathhimmel – Sula Sgeir, July 2026
I mention all of this because Sula Sgeir is the name given to the latest Nathhimmel region build by Konrad Rune and Saskia Rieko, this time additionally assisted by Art Oluja (Artistik Oluja) who has added a fantastic soundscape to the setting.
However, rather than focusing on the actual island of Sula Sgeir and its bloody and callous hunt, Nathhimmel’s Sula Sgeir focuses on an underwater environment through which visitors can engage in their own far more pleasant adventures: diving, swimming and exploring the ocean depths either freely or aboard a 2-seat mini sub or on a “jelly(fish) ride”.
Nathhimmel – Sula Sgeir, July 2026
The Landing Point is a small deck on an outcrop of rock rising above the waves and loomed over by a gigantic Moon. While this island is small, it does contain the skeletal remnants of a great dome standing behind it – a possible hint of a waiting mystery?
The deck includes givers for a swimming HUD, the “jelly ride” (which is a wearable vehicle by Art), and a rezzer for the mini sub. The latter is of Konrad’s design, and a neat little 2-seaters for sharing with someone or simply enjoying on your own.
Nathhimmel – Sula Sgeir, July 2026
Beneath the waves is a strange and haunting world, one in which it is very easy to take on the spirit of Jacques Cousteau when exploring its depths.
However you opt to go, once you are underwater it is essential you have local sounds enabled to add to the sense of immersion as you move amidst fields of tall seaweed, forests of twisted corals, and over an almost alien landscape of strange luminant aquatic plant life.
Nathhimmel – Sula Sgeir, July 2026: “We cruised on, slowly descending to leave most sunlight behind, our headlamps spearing the darkness. At first there was nothing, then, slowly out of the watery haze, giant and majestic figures emerged…”
In the shallower waters, sunlight attempts to probes the water, shafts of light spearing down. Elsewhere it is possible to spot the red glow of ocean floor vents and the now quiet mouths of fumaroles gaping wide, the heat that may have once caused them to once belch clouds of mineral-rich gases long since moved on.
As visitors skirt jellyfish and schools of fish, the flickering, hazy light will eventually reveal the giant denizens of this world. A trio of giant manta rays appear to holding a council session; humpback whales slowly emerge through veils of shimmering, fading sunlight, whilst the ghostly forms of blue whales appear from within the forests of seaweed and kelp-like growths.
Nathhimmel – Sula Sgeir, July 2026: “as we slowly circled the motionless leviathans, we realised they were not alone. To figures floated listlessly, victims of some catastrophe we had yet to understand, and the whales remained, bodies inclined with heads down, as if mourning this tragic passing…”
This is a place holding secrets as well. The humpback whales have their great heads dipped as if in mourning, the lifeless forms of two divers in deep sea gear with airlines detached and the visors of their helmets glowing eerily, floating before them, caught in a state of neutral buoyancy before they could reach the surface. What happened to these poor souls is open the question – perhaps they are connected to the secret hidden in deeper waters.
Then there are the glowing fronds and planets and the strange blue veins to be found in some of the rocks. What do they signify?
Nathhimmel – Sula Sgeir, July 2026
It is to the north and west where this ocean’s secret lays. Here, the the sea floor falls away sharply and sunlight is left behind. At first it appears to be an abyssal deep where not even the whales stray, leaving only the tall fonds and watery growths. But then, from between the growths comes a dance of light, a flash which demands attention.
Close on this lone point of light and it will reveal itself as an abandoned deep ocean structure, its domed roof mindful of the wrecked dome at the region’s Landing Point. Pipes run into it from the surrounding seabed, but what might it be? And what is it lying within, expanding and contracting slowly as if in respiration? Those are questions to be answered by your own imagination.
Nathhimmel – Sula Sgeir, July 2026: “Our descent into this strange world continued, slowly approaching the limits of our dive capabilities. We were about to come to a halt and start an ascent when something loomed up from the sea floor, something which should have been impossible: a structure apparently made by human hands…”
For my part, I will only suggest that getting down to this strange structure is possibly best done using one of Konrad’s mini subs. Whilst a little choppy on the controls, they handle well enough, and going down into the depths of the setting in one definitely heightens the sense of mystery and deep-diving adventure.
My only other observations would be to make sure you obtain introductory notecard at the Landing Point – it contains a backstory touching on the mysterious nature of Sula Sgeir. Also, as if it needs mentioning, do make sure you use Nathhimmel’s Shared Environment when visiting, and for the best immersion, make sure you are running a PBR capable viewer.
Nathhimmel – Sula Sgeir, July 2026
I have never failed to be impressed by the designs Konrad and Saskia create for Nathhimmel, and this remains the case with Sula Sgeir. Fascinating, and engaging, it is a genuinely captivating aquatic environment given additional life by Art’s soundscape, and definitely not a destination to be missed.
IMAGOLand and Galleries: Kirjat Umarov – The Autumn Sun at Gorky Park and other Stories
If I had to say where I felt most alive in my life, or name the place I long for most, or the one I would want to visit again, the answer is: Moscow.
So notes artist and Second life resident Kirjat Umarov in introducing his exhibition The Autumn Sun at Gorky Park and other Stories, which opened at Mareea Farrasco’s IMAGOLand & Galleries on July 21, 2026.
This is a very personal collection of pieces, centred on a celebration of Gorky Park, which Kirjat notes he has been able to visit in both in spring and winter whilst in Moscow, but never in autumn. Thus within this exhibition we have original art which starts from the idea of imagining Gorky Park in the months of autumn, and which broadens into so much more.
IMAGOLand and Galleries: Kirjat Umarov – The Autumn Sun at Gorky Park and other Stories
This is not, however, a series of “traditional” paintings of landscapes directly reflecting the park and its physical structures as we might see them (photos of which can be found in one corner of the exhibition space). They are abstract in nature, suggesting through their use colour – the yellows and golds of autumn, the pale blues of colder autumnal sky, the greys and darker colours of autumn’s wetter moments.
At the same time, the colours are a reflection of memories of Gorky Park and Kirjat’s life as a whole; the warmer, bright shades representing happier times, the darker colours hinting a times apart or times of sadder thoughts. Within several of the pieces are blocky forms, silhouetted outlines: a church, suggestions of a city’s skyline. They serve both as echoes of the city and nation in which the park sits, and of those more personal memories and emotions.
IMAGOLand and Galleries: Kirjat Umarov – The Autumn Sun at Gorky Park and other Stories
Thus, within all of the pieces lay – as Kirjat calls them – “painted memories”, real or imagined, both from his own experiences and of emotions that might be felt on seeing a familiar place but dressed in the colours of a season for the first time. In this way, they draw us into them and interpret them, gently putting our imaginations to work as they provoke the senses. They create snippets of stories which might be shaped by our own emotions and memories to produce new stories; stories which are not necessarily bound to Gorky Park or Mother Russia. The paintings simply invite us to drift through the libraries of our own memories of places visited, times remembered, times missed, and the seasonal colours of emotion and imagine.
An engaging selection of original physical world art.