Fractals and watercolours Second Life

Timamoon Arts
Timamoon Arts

Timamoon  Arts offers a peaceful and carefree environment in which to enjoy art, spend time relaxing and perhaps enjoy a dance or two. There are a number of gallery paces spread across the region, together with ruins to be explored, a coffee-house, aviary, woodlands, a hilltop house and more.

The galleries offer works by a number of artists, notably those belonging to the Gualdo Group, which encompasses some very well-known names: Kylie Sabra, Nino Vichan, Kaly Iali, La Baroque… all of whom make Timamoon an ideal destination for those with a passion for art, be it created digitally (and within Second Life), or in the physical world, or a combination of both.

I was particularly drawn back to Timamoon to view the work of two artists who are featured as a part of the current FIAT (FIne Art Tour): Milly Sharple (who also holds the region) and Sisse Singh.

Milly Sharple - Fractal Insanity
Milly Sharple – Fractal Insanity

Milly’s exhibit is entitled Fractal Insanity, and the title will likely have regular readers here know why I am drawn to it, featuring as it does more of her stunning fractal art, presented in an ultra-modern gallery space utilising a design by Steven Devoid (Devoid Aeon).

Milly Sharple - Fractal Insanity
Milly Sharple – Fractal Insanity

The pieces on display, both static and animated, are stunning in complexity, texture and colour. Given that several are animated, images simply do not do them justice and they need to be seen first-hand to be fully appreciated.

As well as the fractal pieces, Milly offers a number of other digital works, all of which are equally intricate and quite marvellous to behold. Some of these are ideal as both individual pieces or as part of large grouping  – such as her “Petal” series, which I found myself particularly drawn towards.

Milly Sharple - Fractal Insanity
Milly Sharple – Fractal Insanity

With abstract pieces vying with more “traditional” mandelbrot inspired pieces, animated pieces offered alongside static works and an amazing display of digital pieces, Fractal Insanity is a captivating visit; one which is liable to have you admiring and dallying for longer than you might have planned.

However, when you have completed a tour through the floors of Milly’s exhibit space, do make sure you pop across to the rotunda next door, where Sisse Singh is currently exhibiting a range of her watercolour and ink art.

Sise Sigh - Timamoon Arts
Sisse Singh – Timamoon Arts

A self-taught artist, Sisse finds her inspiration from a range of sources including her local physical world environment, Danish landscapes and her own imagination. The display of her work at the rotunda reflects this admirably, offering a broad and captivating cross-section of her physical world art uploaded for display in world.

Sise Sigh - Timamoon Arts
Sisse Singh – Timamoon Arts

The lower floor of the exhibit space presents a number of Sisse’s studies of flowers, while upstairs is a mix of abstract piece, landscapes and portraits. All of them catch and hold the attention, but I confess to finding myself particularly drawn to her portraiture during my visits. The three pieces – Awaken, Joy, and Naked Sunset, each tell a little story of their own, and really draw one into them.

I confess that prior to making my way through the FIAT exhibits, Sisse’s work had somehow escaped my attention. As such, I’m glad I have now belatedly discovered it in-world. This is a beautiful simple display of her work, more of which  – along with that of other artists in the group – can be enjoyed at the Gualdo galleries, also in the Timamoon region. So be sure to pay the galleries a visit as well.

Sise Sigh - Timamoon Arts
Sisse Singh – Timamoon Arts

SLurl Details

Kerupa Flow Unveiled in Second Life

The Portraits of Kerupa Flow Unveiled
The Portraits of Kerupa Flow Unveiled

On display at Tabula Rasta’s Gallery 24 is some of work by Kerupa Flow. Entitled The Portraits of Kerupa Flow Unveiled, it presents a series of the artist’s real life portraiture brought into Second Life and offered as a cosy exhibition curated by Kayly Igali.

“I am a Japanese artist.  The art you see here was made on a computer, using a pen tablet,” Kerupa says of her work. “SL allows me to display my art in its purest form.  Digital data is revealed via graphic pixels.  SL helps make my art come alive, makes it real, more even than in 1st life, because to show it there I would have to transform it, by printout or posting on the web.  Here I can upload and it is a real life experience inside SL.  I find that so exciting!”

The Portraits of Kerupa Flow Unveiled
The Portraits of Kerupa Flow Unveiled

The result is a collection of largely black-and white drawings and images spread across the front floors of the gallery. Most of them stand-alone, but within which sits a fascinating examination of the artist’s creative process at work. It commences with a simple androgynous portrait, dated July 2007, which progresses through to a finished” image – only for Kerupa to later return to it and continue working with it. You can see the study in brief in the image at the top of this piece – but an up-close look is recommended.

What makes this set of images particularly interesting, is that the artist presents a series of comments alongside the pictures. These not only serve to illustrate how the image developed over the passage of time, but also offers insight into Kerupa’s evolving relationship with the individual within it, the latter’s expression and the emotions it conveys serving to influence Kerupa’s own responses with each iteration of the work.  The result is a lovely narrative  leading from initial sketch to a final painting.

The Portraits of Kerupa Flow Unveiled
The Portraits of Kerupa Flow Unveiled

As noted, this is a small, but fascinating display of an artist’s work – and one I thoroughly enjoyed visiting. My only regret is that I missed the opportunity to hear the artist talk about her work on September 14th.

SLurl Details

Living in a Bowl

Living in a Bowl
Living in a Bowl – Cica Ghost

Living In A Bowl is the title of Cica Ghost’s latest installation, which opened on May 10th. It presents the visitor with a tropical island where almost everything is on a gigantic scale: flowers stand taller than an avatar, their delicate heads large enough to offer shade from the sun; coconuts the size of a man hang from palms and gigantic wooden-framed tanks and enormous fish bowls tower over the landscape, holding huge fish and seahorses within their watery confines.

At first, this might seem some giant’s idea of cruelty to fish; the tanks are all placed within view of the oceans from whence these curious fish may have come, almost as though to taunt them. Indeed, the huge glass bowl with its seahorses appears to have been intentionally placed on a rise in one corner of the island, as if daring its captives to perhaps try and unseat it and so gain their freedom in the open waters below.

Living in a Bowl
Living in a Bowl

But are these fish even aware of their circumstance? They drift in their tanks and bowls, in ones and twos, seemingly completely unperturbed by their situation, their movements languid and almost hypnotic as they float over and between the ornaments placed in their tanks – some of which would pass for a modest house for you and I.

Are they the observed, or the observers? There is a serenity about them which suggests that perhaps they know more than we might imagine – or equally, that they are content in their ignorance. And what of their fossilised brethren scattered across the sandy landscape?  What do they say to us – or to the fish drifting in their tanks?

Living in a Bowl
Living in a Bowl

If all this sounds disturbing – it’s not. Quite the reverse in fact; the sound of the waves lapping on the shore, the gentle song of birds in their air together with the odd plaintive call of a gull, all combine with the gentle undulations of the glass-encased fish and soft swaying of the palms in the wind, to created a soothing feeling. The entire effect is, frankly, tranquil and further enhanced by the audio stream, a beautiful selection of music that had me exploring the island to a gentle, lyrical piano and then to soft a cappela Georgian chanting. Little wonder that those on the region with me all appeared to be rooted in contemplation and lost in the music and the motion of the fish.

Such is the peace offered in this strange, other-worldly environment, that I found myself drawn to the watchtower sitting on a little hill in the north-east corner of the island, and there sit down and watch the fish, the music washing over me.

Living In A Bowl will be open for the next few weeks, and is well worth a visit.

Related Links

 

 

 

Watching the balloons

Balloons
Balloons

Balloons is Cica Ghost’s latest installation at Wondering Dew, where it replaces her wonderfully atmospheric Ruins, which I wrote about here. Having officially opened on Sunday, April 12th, Balloons is a similarly atmospheric piece, although in a somewhat different manner.

From the landing point, you look out over a low-lying landscape which undulates gently. Flowers and grass grow tall here, and a lone tree stands on the coast. In the distance stands a city, but a city that’s most unusual in form; rather than rising up into the sky, the tall buildings are bent and oddly deformed, stooping back towards the ground on which they stand. Fog or smoke enshrouds them, and giant cobwebs lay stretched between them, giving the city a neglected feel.

Balloons
Balloons

It is something that is seemingly lost on the denizens of this strange place. While most of them stand in the fields surrounding their city, few appear to be paying it any attention; their focus is instead on the balloons bobbing gently in the breeze, strings hanging tantalising down, most of them just out of reach.

Most, but not all; some have clearly dropped down to within reach of outstretched hands, to be grasped firmly and, whether it be with shocked surprise or sudden pleasure, have then lifted the ones grasping them up into the air, carrying them on the eddying currents of air so they float over the crowd and drift between the city’s curled towers.

Balloons
Balloons

Flying in this way is obviously a delight, something several of those left on the ground clearly wish to experience. To this end, some have been enterprising in their attempts, calling upon step ladders to help increase their ability to grasp passing strings as ballloons float overhead as other watch and point. Such is the wonder of these balloons, that even the bed-ridden reach longingly for a passing string and the hope of … what? Freedom? Flight? Escape?

And what of us, those who stand and watch, alongside the island’s cats as they look on mournfully, as neglected as the city itself? What are we to make of this scene? Is this perhaps a commentary on the dangers of obsession? The wilting fingers of the city’s tired towers with the shimmering cobwebs spread between them, perhaps a warning against becoming too focused on a single thing, be it an activity, object or something else?

Balloons
Balloons

Or are the balloons themselves a comment on our quest for freedom, to be able to soar above the problems of everyday life as presented by the shadowy city, its cobwebs symbolic of the many things which can obscure our view or even bind us in the mundane? The artist doesn’t seek to enlighten us; instead she leaves us to interpret things as we choose.

What she does provide, however, is a balloon which visitors can obtain for free at the landing point, allowing them to experience what it is like to float above the ground and beneath the sky like the citizens of this strange land. I won’t promise it’ll help you decide what is going on in this deceptively beautiful land; but I can say that floating around on the end of a piece of strong can be a lot of fun, and it’s easy to see why the locals enjoy it!

Bolloons should remain open through until the end of April, so why not hop over and see what’s going on for yourself?

Related Links

Bryn Oh’s Lobby Cam

Lobby Cam - click any image for full size
Lobby Cam – click any image for full size

Bryn Oh’s latest installation on her home region of Immersiva opened on Sunday, March 29th. Entitled Lobby Cam, it is, in keeping with her previous works there, a full region installation; albeit one which, on the surface at least, seems a lot less complex than pieces such as Imogen and The Pigeons or the more recent The Singularity of Kumiko. But as we know with Bryn, all is not always as it may first appear to be.

Bryn has always embraced the so-called digital divide, and by doing so remove it somewhat from people’s view. Her virtual work has often incorporated elements of her physical world artistry, while her work in the physical world has frequently encapsulated her virtual art. Lobby Cam takes this a stage further, as it places a number of Bryn’s paintings front-and-centre within the installation, which itself appears to have its origins painting possibly inspired by a trip to  Sasakatoon and the surrounding region of Saskatchewan in Bryn’s native Canada.

Lobby Cam
Lobby Cam

The artwork is on display in a lobby-like gallery to one side of the region – although this is not the lobby to which the title of the piece refers. Here visitors can obtain a HUD (free of charge) which presents the wearer with a journal forming the hub of an unfolding story.  From here, the visitor can progress through the gallery space, reaching a wall on which is mounted a copy of the painting on which a good part of the installation is based. As this is approached, the wall breaks apart, allowing access to the rest of the region.

Most of this is given over to fields of wheat which stretch off to the horizon, and from the midst of which a huge wooden grain elevator rises bluntly into the sky. This is not just any grain elevator, however; it is No. 888, originally built in Keatley, Saskatchewan in the late 1920s as a part of the Saskatchewan Wheat Pool, but which was moved in the 1980s to North Battleford, some 137 kilometres (86.5 miles) north-west of Saskatoon, where it was restored as a museum.

Lobby Cam
Lobby Cam

Such grain elevators where once widespread across the prairies, and early photographs of Saskatoon itself show just such an elevator located alongside the railway tracks on the edge of the town, forming something of a focal point. Within Lobby Cam, the elevator sits as a focal point within a broad spread of wheat, like some tall ship riding the sea, the rippling wheat, which moves to the SL wind, the waves beneath its prow.

Given its size, the elevator is a natural destination, and there are several floors within it to be explored, including the upper floor which links back to the HUD-based story, which I’ll get to in a moment.  Further across the fields, towards the south-east corner, sits the battered bulk of an old Toronto streetcar, doors and windows broken, a part of it boarded-up as vines wind their way through it. Elsewhere amidst the wheat visitors will also find the rusting hulk of a old pick-up truck, sitting like a raft in the middle of a yellow ocean.

All of these pieces are perhaps emblematic; a commentary on the passage of time and the changing of ways. They also help to attract one’s attention to elements of the unfolding story. As mentioned above, the HUD obtained at the start reveals a journal. Initially, only the first few pages can be read but, explore the region and you’ll come across more, which are automatically added to the journal as you do so, allowing more of it to be read. I’ll not say too much more on this, other than you should take a little time in your explorations, as there are pages and more to be found.

Lobby Cam
Lobby Cam

Throughout the build, there are many references to some of Bryn’s other works, some obvious, some perhaps less so. Such motifs are not uncommon to her work, and they add both depth and familiarity to her pieces.

In the default windlight (I’ve taken the liberty of using a different windlight in the images here), the entire installation has something of a “rough” look to it colours in places – such as on parts of the grain elevator – can look a tad odd to the eye, which the old Toronto streetcar might at first look like a badly-made model. However,  this is entirely intentional.

As already noted, the entire installation is essentially the recreation of a painting; thus, the colours and rough uneven surfaces and (in places) blocky finish to various elements in the installation are all redolent of the colours and textures found in the original painting.

Bryn’s work can often be taxing for some computers, and Lobby Cam is no exception, although Bryn has once again put considerable effort into minimising any loss of performance that might be experienced. She also offers some notes on how to lessen the potential impact and improve your experience – including trying SL Go (Bryn has no affiliation with the service, but recognises it as a means by which those on lower-end systems can perhaps better enjoy the installation). These notes can be read directly in-world at the HUD dispenser, or obtained via note card by clicking the information board above the HUD dispenser, or via Bryn’s blog, which includes the introductory trailer video I recommend you watch, if you haven’t already.

Lobby Cam offers-up another intriguing piece from Bryn, which as noted at the top of this article may initially appear less complex than some of her other work, but which is actually beautifully layered.

Lobby Cam
Lobby Cam

Related Links

Ruins: “The Ruined City”

Ruins, Wondering Dew; Inara Pey, March 2015, on Flickr
Ruins (Flickr) – click any image for full size

Ruins is Cica Ghost’s newest build. It presents a wonderfully evocative scene, with the broken shells of buildings rising like the battlements of an ancient castle from a mottled scrub land. It’s an enthralling, enigmatic build which, for me, bought to mind an old Anglo Saxon poem, The Ruined City, which I offer here in modern verse, accompanied by images of Cica’s work.

The Ruined City

Wondrously wrought and fair its wall of stone,
Shattered by Fate! The castles rent asunder,
The work of giants moldered away!
Its roofs are breaking and falling; its towers crumble
In ruin.

Plundered those walls with grated doors —
Their mortar white with frost. Its battered ramparts
are shorn away and ruined, all undermined
By eating age.

Ruins, Wondering Dew; Inara Pey, March 2015, on Flickr
Ruins (Flickr)

The mighty men that built it,
Departed hence, undone by death, are held
Fast in the earth’s embrace. Tight is the clutch
Of the grave, while overhead of living men
A hundred generations pass away.

Long this red wall, now mossy gray, withstood,
While kingdom followed kingdom in the land,
Unshaken beneath the storms of heaven — yet now
Its towering gate hath fallen. . . .

Ruins, Wondering Dew; Inara Pey, March 2015, on Flickr
Ruins (Flickr)

Radiant the mead-halls in that city bright,
Yea, many were its baths. High rose its wealth
Of hornèd pinnacles, while loud within
Was heard the joyous revelry of men —
Till mighty Fate came with her sudden change!

Wide-wasting was the battle where they fell.
Plague-laden days upon the city came;
Death snatched away that mighty host of men….

Ruins, Wondering Dew; Inara Pey, March 2015, on Flickr
Ruins (Flickr)

There in the olden time full many a thane,
Shining with gold, all gloriously adorned,
Haughty in heart, rejoiced when hot with wine;
Upon him gleamed his armour, and he gazed
On gold and silver and all precious gems;
On riches and on wealth and treasured jewels,
A radiant city in a kingdom wide.

There stood the courts of stone. Hot within,
The stream flowed with its mighty surge. The wall
Surrounded all with its bright bosom; there
The baths stood, hot within its heart. . . .

Ruins, Wondering Dew; Inara Pey, March 2015, on Flickr
Ruins (Flickr)

Related Links