A further visit to a Silent Melody in Second Life

Silent Melody, June 2025 – click any image for full size

It’s been a little under eight months since my last visit to Silent Melody, held by Celtic McDaniels (Celtic3147), and as the region recently re-opened to the public, I felt it due time I hopped over and wandered around. During my last visit, the region offered an engaging mix of settings – mostly open landscape – all perfectly put together by Semina (Semiiina), as I noted in Return to a Silent Melody in Second Life.

Semina’s hand is still present within the latest iteration of the region’s design. The setting continues to offer various open spaces, but is now dominated by a large built-up area close to its heart. The default environment setting is strongly suggestive of a misty morning near the coast, and the way the larger buildings within this built-up area – notably the hotel and theatre – loom out of the surrounding mist when exploring is particularly satisfying.

Silent Melody, June 2025

The Landing Point sits to the eastern side of the buildings, occupying a broad terrace laid out at the feet of steps providing access to the imposing bulk of a large conservatory. The latter is home to the Da Capo – an engaging fusion of café and library / reading rooms.

A signpost at the foot of the steps points the way to various locations, each with its own musical names (reflecting Semina’s musical talents as a singer-songwriter – see: To the Moon and Back: a musical experience with Semina in Second Life): Clef City, Legato Beach, Fusion Farm, Staccato Forest, Harmony Lake and Sonata pier.

Silent Melody, June 2025

Behind the terrace, an open gateway provides access to a broad pier extending over one end of Legato Beach. However, if it is the beach you wish to visit, you’ll have to follow the signpost’s directions and take the wooden steps down from near to where the covered walkway leads to a large gazebo.

The main part of the beach looks out towards a pair of little islets where houseboats have been moored.  Reached by using the life ring boat rezzer on the beach, the two islands appear open to the public, while the houseboats are available for rent on a daily basis.

Silent Melody, June 2025

Following the sign for the beach will also reveal one of the two the archways marking the main access points into the built-up area of Clef City. However, the main street of the city can also be reached more directly through the Da Capo Café.

With old tram rails running down its main street, Clef City has a careworn look and feel to it. Most of the buildings are shells, including the imposing bulk of the hotel, but within some – notably the local, err, “herbal” store, the pub and the theatre – you will find décor and dressing. The theatre has window displays mindful of Semina’s musical experience noted above, and appears to be designed for indoor music events.

Silent Melody, June 2025

One thing to look for when exploring around the city, is the ladders. These provide access to (and in one case, between) rooftop spaces which have been delightfully put together, with music again part-and-parcel of the theme within some of them.

The southern end of the city is elevated above the main street, a cobbled path curling around the apartment houses here to reach another terrace with pizza might be enjoyed al fresco, with both it and a smaller terrace to one side of the footpath also including their own musical motifs. The road up to them also overlooks Fusion Farm with its meadow, scarecrow-guarded field, horses and meandering brook. For those who enjoy horse riding, the Farm offers a horse rezzer. Again, follow the sign posts to reach it from the Landing Point.

Silent Melody, June 2025

To the north, the city quickly gives way to more rural looks, complete with Harmony Lake (“lake” might be a little grandiose, but it does sound better than “pond”:) ), the entire area serving as a captivating retreat with numerous places to sit, cuddle, pass the time – or photograph!

Also on the north-east side of the region, but down on the coast, is another open venue for music and dancing. It sits beneath the raised finger of a lighthouse and can be reached via several means, and I’ll let you discover them.

Silent Melody, June 2025

All of this is bound together by paths and trails and the Staccato Forest, which wraps around the west side of the region from north to south, embracing in its arc a path allowing visitors to completely circumnavigate the setting. It’s a route I thoroughly recommend taking, as it brings to the eye even more of the region’s beauty, and Semina’s attention to detail, including plants, flowers, critters, wildlife, statues, and more.

As with my past visits to Silent Melody, this latest iteration is an absolute delight.

Silent Melody, June 2025

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2025 SL viewer release summaries week #24

Logos representative only and should not be seen as an endorsement / preference / recommendation

Updates from the week through to Sunday, June 15th, 2025

This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:

  • It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy.
  • This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
  • By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
  • Outside of the Official viewer, and as a rule, alpha / beta / nightly or release candidate viewer builds are not included; although on occasions, exceptions might be made.

Official LL Viewers

  • Default viewer: 2025.04 – 7.1.14.15192634334, issued May 25, promoted May 28 – No Change.
  • Second Life Project glTF Mesh Import, version 7.1.14.15361077240 June 2 – No Change.
    • This is an early Alpha release with some of the rough edges and already resolved many bugs and crashes, although more are to be found, together with general feedback from the community. Please read the release notes if you intend to test this viewer.
  • Second Life Project Lua Editor Alpha (Aditi only), version 7.1.12.14888088240, May 13 – No Change.

LL Viewer Resources

Third-party Viewers

V7-style

  • Firestorm 7.1.13.78266 June 15 – release notes.
  • Kirstens Viewer S24(3) – Fara Build 2440 – Beta, June 15 – release notes.
  • Kokua: 7.1.15.57097 (no RLV) and 7.1.15.60783 (RLV variants), June 7 – release notes.
  • Megapahit: 7.1.145.53776 – June 13 – changelog.

V1-style

Mobile / Other Clients

Additional TPV Resources

Related Links

Space Sunday: frustrations and extensions

The (currently unnamed) Crew Dragon vehicle – the latest in the fleet – sitting atop its Falcon 9 booster awaiting an opportunity to launch to the ISS with the Axiom Ax-4 crew, a full Moon rising behind it. Credit: SpaceX

Axiom Space, one of the leading contenders to take over low-Earth orbit space station operations for the United States once the International Space Station (ISS) ends its career, has been encountering frustrations as it tries to get its fourth crew to the ISS.

Axiom Mission 4 (Ax‑4), comprising a four-person crew, had originally been scheduled to lift-off on a 2-3 week mission to the ISS in early spring, using the Crew Dragon Endurance. That launch target was pushed back when SpaceX admitted they would not have their newest Crew Dragon ready for the planned launch of the Crew 10/Expedition 72  mission to the ISS – the so-called “rescue” mission (which it wasn’t) for astronauts Barry Wilmore and Sunita Williams.

Because of this, result Endurance had to be swapped into the Crew 10 mission to avoid the latter slipping (ironic, given the SpaceX CEO was at the time screaming that President Biden was responsible for no “rescue” having been launched). With the two Crew Dragon vehicles swapped, May was targeted for Ax-4, utilising the new Crew Dragon vehicle. That date was pushed back to June 8th, when it was realised final check-outs of the new vehicle weren’t going to be completed on time – only for the weather to intervene, it being too poor over the recovery area on the 8th to enable a safe recovery of the capsule in the event of an ascent abort.

June 11th was finally targeted as the launch date, only for NASA to cancel it after it came to light that SpaceX had been playing down a propellant leak identified during a June 8th static fire test of the booster’s Merlin engines (such pre-launch tests are standard feature of Falcon 9 launches). After revealing the leak after the test, SpaceX insisted it would not impede any launch – only to then state on June 10th that they needed a launch delay in order to correct the issue.

The crew of Axiom Space’s Ax-4 mission to the International Space Station. From left to right: mission specialist Tibor Kapu; pilot Shubhanshu Shukla, commander Peggy Whitson, and mission specialist Sławosz Uznański-Wiśniewski. Credit: SpaceX / Axiom

The leak – within the booster’s liquid oxygen feeds – had been noted during the booster’s previous flight in April 2025, but had not been properly resolved during the rocket’s refurbishment following that flight. As a result, Ax-4’s launch was pushed back to June 12th.

Then, if all the above weren’t enough, a long-running issue of pressure leaks within the Russian modules of the space station reared its head once more, initially causing NASA to inform Axiom that it was postponing any launch clearance for the mission “indefinitely”.

As I’ve previously noted numerous times in these pages, all of the major elements of the Russian portion of the ISS are “out of warranty”; that is: they are now exceeding their planned operational life span. Even the Nauka (“Science”) module, which arrived at the ISS in 2021, was originally laid down in the early 1990, and 70% complete by the end of that decade – meaning much of it is now exceeding its 30-year life span.

A 2021 rendering of the ISS showing the vehicles docked at that time. Note the Russian segment of the station – particularly the large Zarya, Zvezda and Nauka modules, note of which are less than 30 years old. The problematic PrK “vestibule” is contained within the tan area of Zvezda, directly where the arrow is pointing. Credit: NASA

Nauka is mated with the Zvezda module, the core segment of the Russian portion of the ISS, and this has a history going back to the 1980s. At one end of Zvezda is a small transfer tunnel, or “vestibule”, which connects directly to the module’s aft docking port. This port is generally used by Russian Progress resupply vehicles when delivering materiel to the ISS, and so sees a lot of use. Since 2019, the vestibule – referred to as PrK in Russian parlance – has suffered ongoing pressure leaks. By April 2024 the leaks had in NASA’s eyes reached a critical threshold: 1.7 kg per day of atmospheric loss. Whilst Roscosmos disagreed with NASA’s assessment that the leaks pointed to a potential catastrophic failure with PrK, it was agreed to keep the inner (Zvezda-side) hatch on the tunnel shut at all times other than when in active use.

Although this reduced the overall amount of daily pressure loss, the leaks within PrK have remained a concern. This was heightened recently when the pressure loss started to rise again, suggesting the seals on the hatch between Zvezda proper and PrK might be failing, and this is what caused NASA to place the AX-4 mission on “indefinite” hold while Roscosmos acted to fix the issue.

A cutaway of the Zvezda module. The Prk “vestibule” is the brown / grey internal element between the labelled treadmill and the after docking port. Credit: NASA

On June 13th, Roscosmos indicated the further micro-cracks within PrK’s inner walls had been sealed, and the cosmonauts on the station would be carrying out regular pressure checks. They made no mention of NASA’s concerns over the state of the seals on the hatch itself. After two days of monitoring, NASA agreed the leaks had once again been stabilised, and on that basis provisionally cleared the AX-4 mission for a potential launch as soon as June 19th, providing the leaks in the PrK did not resume.

When it does eventually launch, Ax-4 is set to spend up to three weeks at the ISS, with the crew carrying out a range of science experiments and research. The crew is commanded by former NASA astronaut Peggy Whitson, one of the most experienced people to have flown is space, clocking up a total of 675 days in orbit and an impressive 60 hours and 21 minutes of EVA time. She also served as NASA’s Chief of the Astronaut Office for three years between active duty stints as an astronaut. In 2018 she retired from NASA to join Axiom as Director of Human Spaceflight.

ISRO’s official image of Shubhanshu Shukla, taken at the Vikram Sarabhai Space centre (VSSC), during the announcement of India’s first astronauts selected to fly in their domestic human spaceflight programme. Credit: ISRO

Joining Whitson are Shubhanshu Shukla of the Indian Space Research organisation, Sławosz Uznański-Wiśniewski, an ESA astronaut hailing from Poland and Tibor Kapu of the Hungarian Space Organisation, all of whom are making their first trips to orbit. The international mix of the crew is intended to underscore Axiom’s (and NASA’s) desire to maintain the levels of international co-operation in orbital activities beyond the ISS.

In this, Shukla’s presence is seen as particularly important: an Indian Air Force test pilot, he was selected in 2024 as one of the first four astronauts to fly the first crewed mission aboard India’s Gaganyaan crew-capable spacecraft. This flight is currently targeting a 2027 launch (allowing for three uncrewed test flights in 2025/2026). Flying AX-4 as mission Pilot will give Shukla invaluable experience ahead of the Gaganyaan-4 mission.

It is not currently clear if his back-up, Prasanth Nair – who has already been named the Commander of Gaganyaan-4 – will have a similar opportunity to experience spaceflight ahead of that flight; The Ax-5 mission is due to fly to the ISS in May/June 2026, but the crew for that mission has yet to be announced as appears to be subject to some degree of competition between nations.

China Prepares for On-Orbit Satellite Replenishment

If it hasn’t already happened, China could be about to undertake its first automated satellite refuelling test in geostationary Earth orbit (GEO), roughly 35,786 km above the surface of Earth. The mission is part of a broader programme as China develops capabilities to dispose of defunct satellites and refuel / service others to extend their lifespan.

The project was initiated in 2016, with the launch of Shijian-17 (SJ-17). “Shijian” is a name China uses to describe various satellites intended to test capabilities and technologies that may be used in future space activities; as such it can be translated as “practice”. Since the 1970s, Shijian vehicles have been used to test systems and capabilities related to Earth observation, signals intelligence, communications, space environment monitoring, space-based agriculture, optical imaging, ICBM launch monitoring, etc.

The launch of a Long March 3B from Xichang, carrying the Shijian-25 vehicle on its way to orbit, January. 6th, 2025 (see below). Credit: CCTV

At the time of its launch, SJ-17 caused concern in some quarters as it carried a robotic arm, which some in the west suggested could be used to grapple satellites belonging to other nations and drag them off-orbit – or worse, be used as a kinetic force to physically damage them. China’s eventual statement that the vehicle was intended for “space debris remediation” at geostationary orbit altitudes did little to quell the rumours; nor did SJ-17 behaviour following launch. Over multiple months, the vehicle moved between widely varying orbits, often coming to with 55 km of other satellites – not all of them Chinese – and spending multiple days “shadowing” them. Eventually it settled into a parking orbit, where it remains, still operational.

In October 2021, China followed-up SJ-17 with Shijian-21. This again caused concerns in the West as its launch was far more secretive than most, and about a month after it entered orbit, a secondary vehicle appeared to separate from it, and the two proceeded to orbit in very close proximity to one another, with China saying nothing, other than SJ-21 was designed to remove defunct satellites from orbit. They demonstrated this in 2022, when SJ-21 left its unidentified companion to rendezvous and dock with the expended Beidou G2 (Compass G2) navigation satellite, before hauling it to a much higher “graveyard” orbit, leaving room for another satellite to take its place. After depositing Beidou G2, SJ-21 returned a geostationary orbit where it has remained up until earlier this year.

In January 2025, China launched SJ-25, defined as a satellite refuelling and life extension vehicle. After SJ-25 entered its own geosync orbit, it was noticed that SJ-21 had apparently woken up and had commenced manoeuvring. Over several months, SJ-21 altered its trajectory and track to bring it into a more-or-less similar orbit to SJ-25.

At the start of June 2025, SJ-25 commenced refining its position, slowly closing on SJ-21. By June 9th, the vehicles were in absolute lockstep, SJ-25 trailing SJ-21 by some 1,500 km, and closing its orbit by some 1.5° per day. Given SJ-25’s slightly faster velocity, it was anticipated that the two could be in a position to rendezvous and dock any time after June 12th, allowing time for SJ-25 to slow itself sufficiently and gently to achieve such a goal.

As of writing this piece, there have been no reports to confirm any such rendezvous. However, if they do, and the intent is to transfer propellants from SJ-25 to SJ-21, it would be a major achievement for China in developing the ability to extended the lifespan of many of their more expensive and complex satellites.

Just how beneficial this could be has already been demonstrated by the American-built Mission Extension Vehicle-1 (MEV-1), which coincidentally saw the end of its first mission in April 2025.

Northrop Grumman’s MEV-1 in its launch configuration prior to shipping to the launch site. Credit: Northrop Grumman

Initiated as a start-up private venture in 2010, the Mission Extension Vehicle programme is now owned and managed by Northrop Grumman, with MEV-1 the programme’s first demonstrator / operational vehicle, launched in 2019 (MEV-2 was launched in August 2020). Following its arrival in geostationary orbit, MEV-1 gradually adjusted its orbital track and altitude to rendezvous with communications satellite Intelsat 901 (or IS-901).

Originally launched in 2001, with a planned operational life of 13 years, IS-901 was still fully functional in 2019. However, its orbital slot was required by the newer and more capable Intelsat 37e satellite. To this end, and some 5 years over its planned lifespan, IS-901 had been commanded to move itself out of its slot and into a higher “graveyard” orbit. However, rather than being decommissioned, it was placed in hibernation.

Left: a view of IS-901 as seen by MEV-1 during its final approach in February 2020.  The vehicles are some 20 metres apart, with the Earth forming a partial backdrop. Note the central engine bell on IS-901, intended to be MEV-1’s first point of contact. Right: an image of MEV-1’s retractable capture arm extended into IS-901’s engine bell, allowing MEV-1 to draw them together and achieve a hard dock. Credit: Northrop Grumman

This allowed MEV-1 to reach it in February 2020 and make a successful docking. Mev-1 was then used to carry out remote checks on the communications satellite to ensure it was still functional despite its hibernating status. With a confirmation IS-901 could be fully revived, MEV-1 towed it to a new geostationary orbit, where it remained mated to the satellite to provide orbital correctional capabilities and additional power. This allowed Intelsat to bring IS-901 fully back on-line and operate it for an agreed further five years from April 2020 to April 2025.

In April, IS-901 was moved back to its “graveyard” orbit where it was decommissioned. Separating from it MEV-1 commence manoeuvring to rendezvous with its next target, the Australian GEO communications satellite Optus D3, launched in 2009. Once mated, MEV-1 is expected to allow Optus D3 to remain operational for a further 5-7 years.

The art of Miles Cantelou in Second Life

Miles Cantelou – Scirocco Art Galleries: Brutbuild Gallery

It has been some time since I had the pleasure to view the art of Miles Cantelou. This is in part because I gather he took a leave of absence from Second Life some time after I last had an opportunity to visit one of his exhibitions (see: Lucid Dreams with Miles Cantelou in Second Life). Given this, I was delighted to receive a note from him indicating he was once again active in SL, and inviting me to visit his latest undertaking, a multi-gallery complex showcasing his work.

Located on a portion of a Homestead region Scirocco Art Galleries occupies both the ground level and skyboxes which gather elements of Miles’ extensive catalogue of art and styles, with the ground level also offering spaces for relaxation, meditation and Tai Chi.

Miles Cantelou – Scirocco Art Galleries: Galleria Polynesia
What started as a couple of galleries has now become a kind of Terra Mitica and I have to say, it’s been a lot of creative fun which continues every day.

– Miles Cantelou

Those familiar with Miles’ work will know that his range encompasses street and studio photography, painting in acrylics and oils, working within 3D environments and more, whilst encompassing genres from abstract through surrealism to abstracted expressionism, with a strong lean into using light and light forms. Much of his work is colour-rich and boldly stated – although this is not always the case, as is demonstrated particularly within Ice, one of the smaller exhibitions within the Artist’s Block galleries space.

Miles Cantelou – Scirocco Art Galleries: Ice Exhibition

The latter is one of the skybox areas with the parcel, and one which – going from the sign displayed at the time of my visits – still in development, and planned to be a space for artists. Reached via the teleport board system which links all the various galleries and public spaces, it was home to a set of smaller exhibitions by Miles at the time of my visit, starting with the aforementioned Ice, featuring stunningly engaging blended photography portraits.

Joining Ice is Expo Retro Amsterdam, a truly magnificent series of images and street photography taken from around Amsterdam taken and processed in such a way as to bring a whole new vision of that city to life; Outback, a highly individualised reflection of Australian aboriginal art in  places given an abstracted lean; and Forest, a series of abstract paintings for forest environments.

Miles Cantelou – Scirocco Art Galleries: Expo Retro Amsterdam Exhibition

As I’ve stated in the past with regards to Miles’ work, it constantly expands boundaries; physically and metaphorically. Physically, because it embraces art genres, such as those noted above, whilst often offering a unique look and feel, a blending of styles, approaches and ideas that renders his work unique unto itself – whilst still being utterly approachable.

Take, for example, the display of street art present within the Brutbuild gallery, a name referencing the minimalist style of architecture common in post-war Britain in the 1950s and 1960 called Brutalist architecture, and which eschewed decorative design in favour of basic materials and structural forms. The gallery’s form is more in keeping with the term than that art it presents; although some of the art within the gallery might be seen as offering subtle nodes to the minimalism of Brutalist expression.

Miles Cantelou – Scirocco Art Galleries: The Far East Gallery

But more the point, within this gallery space is a richness of styles – impressionist, abstract,  surreal, cubist, digitally processed – all beautifully presented and individually approachable and understood – yet each given a unique turn of colour, processing, technique, etc., that leaves it as a suggestion of that metaphysical expansion: that beyond the frame, there is an entire story, an entire world colours and presented through Miles’ eyes, and awaiting our perception.

However, the best way to fully appreciate Miles’ work is to witness it, not read about it. Each of the major gallery spaces presents a themed collection (e.g. the Far East, a unique take on China and Japan; Mesoamerica, a homage to the Cubism of Picasso, for example), allowing them to be visited individually or collectively, in a single visit or across several, making it very easy to immerse yourself in Miles’ work.

Miles Cantelou – Scirocco Art Galleries: Gallery Morocco

Highly recommended for all lovers of art.

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A return to Dutch Pavilion in Second Life

Dutch Pavilion, June 2025 – click any image for full size

In September I wrote about Dutch Pavilion and Ameland, a pair of shared locations design by Sorcha Tyles, occupying the same Homestead region (see: Tea, coffee and pancakes with Sorcha in Second Life). Both shared similarities in looks and style (both being sandy temperate islands) and offers a lot to see and do.

Since then, things have changed. Ameland closed in March 2025. Dutch Pavilion, Sorcha’s first public setting, meanwhile, has relocated. Now occupying a south-west corner parcel of a Full private region, Dutch Pavilion retains all of its visual and photographic appeal.

Dutch Pavilion, June 2025
Enjoy the friendly atmosphere at Dutch Pavilion, a serene park with a windmill, where you can escape, dance, chat, have breakfast & coffee and hangout. Listen to the sound of the meandering river and the chatty geese.

– Dutch Pavilion About Land description

The Landing Point sits at the western end of the parcel, raised up on a bluff overlooking open water to one side and the gardens to the other. A signpost alongside the Landing Point provides access to a Dressing Room for those wishing to change their looks for photography (or sunbathing, etc.), and an outdoor photo studio set.

Dutch Pavilion, June 2025

The step down from the Landing Point to the stairs leading on down to the garden is a bit of a big one (well, it’s more of a jump than a step 🙂 ), with a loose-laid gravel path providing the way forward from the bottom of the broad stairs.

To either side of this path are garden spaces mostly given over to grass, one with a Tuscany style lean-to propped against an old Tuscany-style gateway, allowing it to serve as a little shelter for a donkey and its hay. To the other side, a Spanish style caravan and outdoor seating form a welcoming little vignette with butterflies circling and a rabbit keeping an eye on things.

Dutch Pavilion, June 2025

Further along the path the grass becomes an outdoor seating area for the little café which has taken over part of the mill house attached to the windmill tower. Still with its sales turning, the mill tower is now a studio for designing clothing, complete with large rolls of fabric awaiting use.

The stream mentioned in the About Land description runs parallel to the gardens for a part of their length, running from the eastern boundary of the parcel before turning out to the sea at the western end of the beach, lying on the far side of the stream relative to the gardens.

Dutch Pavilion, June 2025

The stream can be crossed via a single bridge, which accesses the boardwalk running along the back of the back and offering places to sit – as does the beach.

All of this is extremely picturesque whilst being easy to explore. However, what makes the setting enchanting is Sorcha’s attention to detail throughout. This comes in a myriad of forms: the dress of the interior of the café, the outdoor spaces with the café and the caravan; the flower vases on the tables; the rabbits and otter, the bicycles – the list goes on.

Dutch Pavilion, June 2025

I particularly appreciated the touches of the everyday – such as the hosepipe on its little cart and the sign and bag giver warning against allowing pet dogs to foul the grass, together with a convenient bin for dumping used bags.

Small it might be, but Dutch Pavilion is perfectly formed and a genuinely engaging visit – be sure to look around everywhere, including behind the windmill!

Dutch Pavilion, June 2025

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Metaphysical Landscapes in Second Life

ArtCare Gallery, June 2025: Kirjat Umaro – Metaphysical landscapes

I first wrote about the art of Kirjat Umarov back in April 2024, when he was exhibiting at the Annex of Nitroglobus Roof Gallery (see: Abstract Event Horizons at Nitroglobus in Second Life). At the time I was struck by the symbology and depth of themes and ideas within Kirjat’s abstract art presented within that exhibition.

A new exhibition of Kirjat’s work opened at the start of June 2025 and Carelyna’s ArtCare Gallery.  Entitled Metaphysical Landscapes, it focuses leans more towards abstract surrealism, while again mixing themes and ideas.

ArtCare Gallery, June 2025: Kirjat Umaro – Metaphysical landscapes
Ever since I first saw a painting by Giorgio de Chirico in an art school textbook, I’ve been fascinated by surrealism in the visual arts. I had come to feel and understand this form of expression more and more through the “metaphysical landscapes” of [Yves] Tanguy, [Salvador] Dali, [Rene] Magritte, and of course Max Ernst & Joan Miró as well as Russian and German protagonists of this genre.

– Kirjat Umarov

In contemplating and studying the works of these artists,  Kirjat found them both a form of escape from the everyday and also a means of understanding them as  expressing a form of truth about life: all that we experience in daily life – all that we see, the worries, the emotional ups and downs, our fears, our concerns – is merely a superficial illusion of what life is about. Underlying it, just waiting for us to open our eyes and see it, is a form of the world and existence in which everything flows together, and everything makes sense.

ArtCare Gallery, June 2025: Kirjat Umaro – Metaphysical landscapes

As a result of this realisation, and as Kirjat goes on to note:

Last year I noticed that for some time I’ve been painting non-representational, abstract pictures while also repeatedly devoting myself to classical landscape depictions … which is why I began trying to combine the two, sometimes adding geometric elements and composing everything in such a way that metaphysical landscapes and forms can be discovered in them.

– Kirjat Umarov

ArtCare Gallery, June 2025: Kirjat Umaro – Metaphysical landscapes

So it is, across four rooms, we’re presented with a rich mix of imagery encompassing the idea of what we see before us is more illusory than we might think, that there is a more substantial truth waiting for us to find. The Landing Point places you at the intersection of these four rooms, alongside a post offering an introduction to the exhibition, and a catalogue providing information on the six images presented within each room –  and I highly recommend you read both.

All of the pieces carry a richness of idea – hinted at through their names – and I found myself particularly drawn to Cloudy Mountain View, Black Hole Sun, Lover’s Pier and There’s Always a New Day Behind the Corner. All of these pieces have a beautiful sense of minimalism about them, together with an abstracted use of geometry which makes them instantly attractive and brings there messages to the fore in the most gentle of manners. Whish is not to diminish the others in the collection: all have something to say to the open eye and mind.

ArtCare Gallery, June 2025: Kirjat Umaro – Metaphysical landscapes

A fascinating and engaging exhibition.

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