Creatures of Light is an exhibition of images by Harbor (Harbor Galaxy) which opened at MetaLES, curated by Ux Hax and Romy Nayar, on July 8th.
“For those of you who are familiar with my work through Flickr or shows here in-world. Creatures of Light may be something of a departure from my usual style,” Harbor says in introducing her work. “My objective was to use an avatar devoid of ornamentation and to only utilize poses, light and colour to create these pieces and to give myself permission to play and to step outside my comfort zone.”
I cannot speak to Harbor’s work on Flickr – no link is provided, and Flickr’s search doesn’t appear to recognise her as “Habor Galaxy”, making a targeted search difficult. However, what I can say is that in the nineteen images presented at MetaLES, Harbor has produced some quite extraordinary art, which in places encompasses abstract expressionism and in others seemingly touches on fractal patterning, whilst in all of them is a study of the human (or in this case, avatar) form.
In this latter regard, and considering the lack of facial features, some of the images are quite exquisite in their portrayal of mood and emotion, easily matching more traditional portraiture. Take Contemplating the Standards Beauty, for example; there is a wonderfully layered narrative to the image – the heads of the subject may only be wire frame, but they carry with them the sense of expressions, while the body language of figure contemplating them – the artist? – speaks clearly of her or his contemplation of the images. Further along, The Body wonderfully presents action, the swirls of colour, sweeps of lines all suggestive of motion and the power of sinew and muscle, tendon and ligament.
Opening on Wednesday, July 19th, 2017 at 1:00pm SLT is a new exhibition at Solo Arte entitled Not Only … But Also. It features the art and images of Boudicca Amat and myself.
Receiving an invitation to display my images always comes as a mixture of thrill and nervousness. Thrill, because I don’t regard myself as any kind of Second Life photographic artist – my images are primarily concerned with illustrating the posts I write about the places I visit. Nervousness, simply because my work, as illustrative, tends to be a little “plain Jane” when compared with the true masters of the SL landscape.
I mention this not out of modesty, but because I’ve previously written about exhibitions at Solo Arte, and the idea of filling the space there with only my work actually filled me with a feeling akin to panic. Hence the suggestion to Solo Arte’s curators, Terrygold and Melania, that a second person is invited to share the available space. And to me, this second person could only be Boudicca Amat.
Boudicca’s work is, in a word, exquisite. Beautifully composed and executed, the artistry encompasses not only the image itself, but the vision and creativity poured into the entire process of producing such richly evocative moments in time, including, often, are care pouring over poses and sets. As such, I’m genuinely delighted to be sharing the Solo Arte space with her. Her avatar studies also – I hope – form a counterpoint focus for my landscape images.
As Solo Arte is a mixed indoor / outdoor venue, offering pleasant walks along a canal, a little bar and outdoor events area, Bou and I have split the space up between us in with the aim of making a visit more of a mix for people. On the landing point side of the art space, my own images can be found outside around the garden area, while further along the canal, Bou has a display inside one of the two exhibition halls. Across the canal bridge, the positions are reversed: I’ve used the second of the exhibition halls, and more of Bou’s would can be found in the courtyard behind the hall, which opens off of the events courtyard. We’ve add exhibition posters to help point the way to the different locations.
When visiting, do note that Solo Arte is presenting two exhibitions: not Only … But Also, and Riflessi Sul Nero (which you can read about here). As such, you may be directed to Riflessi Sul Nero when teleporting. If this is the case, please use the teleport disc alongside the landing point to reach the main Solo Arte exhibition area to find us.
I often discuss the idea of narrative in images when review art in these pages. Not every picture has to tell a tale beyond itself, but for me, depth is added when it does; when the image before you becomes a glimpse caught in time of a far broader canvas, inviting the imagination into it and consider all that might lie beyond the window we see.
When it comes to the art of Cybele Moon (Hana Hoobinoo), we are given not so much a window into a narrative, but a doorway into entire realms. Her work is, in a word ethereal; there is a beauty and depth to it which is magnificently and hauntingly moving – and you can can witness this for yourself at the meadow art area in Commune Utopia, where she has been invited to exhibit her work. She presents 15 pieces (16 if you count her enchanting bio giver) and as always, all are truly marvellous pieces. To enjoy them to the fullest, be sure to set your time of day to midnight.
Cybele’s Second Life work is a reflection of her photography in the physical world, where she captures landscapes – sometimes using an infra-red camera – and produces mythical scenes of extraordinary depth and life. Many of the pieces she displays in-world combine the physical and virtual worlds to create wonderfully layered pictures which – as noted – are richly narrative in nature.
Her muse for her work is a combination of history and myth – some of her work is inspired by Celtic and Icelandic mythology, for example, and other pieces are inspired by her own travels in north Africa and Central America. She describes her work as constantly evolving, and one of the attractions of the Commune Utopia exhibition is the breadth of her work on display – composites, colour and monochrome all share the space, offering the visitor a marvellous view into the various forms her worlds can take.
The will be an opening event for Cybele’s exhibition at Commune Utopia at 12:00 noon on Saturday, July 22nd in the art meadow. Also, no visit to Cybele’s work is every complete without also visiting her websites. In Runes of the Gatekeeper’s Daughter, she presents tales and photographs inspired by her travels. Meanwhile, Virtually Yours presents her images from, and musings on, virtual worlds.
Commonwealth Village is a Mainland located Community themed on the looks and climate of New England. Developed by Derek Boston, it offers residential rentals, village shopping and an expanding arts and music programme.
Built around a central square without outlying rental residences all in a New England style, the communal heart of the community is a tavern-side meadow where live music events are held, together with open mic sessions. Friday July 14th will see Nikita Mortenwold performing on the stage from 14:00 SLT, followed by Ian Bleac at 15:00 SLT.
Also opening at 14:00 SLT on Friday 14th July is a new art exhibition at the Commonwealth Village. An open-air event being held on the paved piazza in front of the village’s imposing pavilion, I’m quite delighted and honoured to say that the display is of work by …. me!
It was a genuine surprise and pleasure to receive an invitation from Derek to display images from my Exploring Second Life series of blog posts in these pages, particularly as art is one of the newest additions to the Commonwealth’s event calendar. I was equally delighted to be able to chat with Derek in June in my role as a gallery space curator to discuss art exhibitions in SL.
For the exhibition, I’m offering some 16 images from some of the more recent travels Caitlyn and I have made across the grid, and I hope people will find them pleasing. I’d also like to offer an open invitation to anyone do minded to join us at the Commonwealth Village for the music and the opening from 14:00 SLT on Friday, July 14th.
Karma Avedon sent me an invitation to visit her full region installation, One Tree Hill which is – although still in part a work-in-progress – now open for visitors. “[It’s] my first ever work for the LEA and I am very excited both to have had my idea accepted and to have managed to actually bring it to fruition,” she told me prior to Caitlyn and I paying a visit.
The installation is a virtual reflection of U2’s seminal album The Joshua Tree, which celebrated the 30th anniversary of its release in March 2017. The album grew from a mix of influences – social, political, spiritual, and cultural. It was released in a period of history which we see echoed somewhat today, with economics dominating the politics of the UK (U2’s home) and America; global small-scale conflicts; the changing face of traditional industries – notably coal mining; etc.
All of this, including the influences behind many of the songs contained within the album are reflected within One Tree Hill. Some of these references are obvious, others are more subtle or layered. Also to be found are reflections on the band’s contrasting views between “real America” and “mythological America”, and reminders that the UK and the USA have much in common.
A journey begins Where the Streets Have No Name, a flat desert-like environment cut by broad, nameless roads, stretching away to the horizon, a great mesa rising to one side. Much of this contains images of the American mythos: great flat desert plains, broad, ruler-straight roads arrowing to the horizon, billboards (which carry some of the more overt political references for both the 1980s and today), and a reminder of the former importance of coal in building both the UK and USA.
Where one travels through this landscape is a matter of choice. Follow the single south pointing road, and you’ll pass a row of bonnet-buried Cadillacs – a reference to Cadillac Ranch, and emblematic of the American mythos. Close by, on the other side of the road visitors can reflect on being With Or Without You; the internal struggle of the song (to be a husband at home or a rock star on tour) powerfully represented by the statue of a couple caught in the tension of a tango – and a dance orb allows visitors to engage in a dance as well.
Staying on the lowland area, where Joshua trees via with umbrella thorns to offer some greenery, and travelling south, one will eventually come to a large gallery space (still under construction) and references to Bono’s time in South America. The latter represents both Bullet the Blue Sky and Mothers of the Disappeared in a rain-soaked corner. The latter of these also perhaps contains modern-day references: the three distressed mothers all being clad in burqa-like garments, whilst the boards set on the chain link fence appear to be in reference to more recent conflicts.
Atop the mesa and reached via an ascending set of wooden platforms, sits a literal representation of Red Hill Mining Town literally sits, offering another layered interpretation of the period. The song itself was written around the unfolding political upheavals impacting Britain’s coaling communities in the mid-1980s, and in particular the 1984 Miner’s Strike; however, the town is very clearly American in setting. Thus, a parallel is drawn between the decline in the importance of domestic coal witnessed in both the United States and the UK – for largely the same economic reasons – during the 1980s. A further layer is perhaps added as well, in that the embodying Red Hill Mining Town as a run-down American township might be seen as a metaphor for the band’s own conflicted views of the “real” (declining traditional industries), and “mythological” (land of golden opportunities) United States.
Within this town are further references to both The Joshua Tree with I Still Haven’t Found What I’m Looking For, featured appropriately enough within a church; and to U2’s own history in the form of the STS Studios, where many of the group’s songs (including some from The Joshua Tree, but notably the likes of Rattle and Hum) originated / were recorded. Standing over all of this, and reach by another set of wooden steps, is One Tree Hill, written in reflection of a 1984 visit to Maungakiekie, a volcanic peak in New Zealand, and one of the most spiritually significant to Māori people. As with it’s namesake, Karma’s One Tree Hill is a place of reflection and peace.
One Tree Hill is a fascinating, layered installation, one which should be explored carefully, allowing for reflections on U2’s album and music and the imagery presented within the build. Do be sure to have ambient sounds active when visiting and – if you’re a U2 fan, try the music stream as well. I’ve also not referenced all the tracks on the album – others are to be found, but I’ll leave you to find them (hint: look indoors for at least one), as that’ll leave you some mystery as well 🙂 .
Riflessi Sul Nero (“Reflected On Black”) is the title of the latest installation by Italian artist Terrygold, which is now open to the public at Solo Arte. It comprises a series of around 15 large format avatar studies, all set out within the setting of an old mine works visitors must explore.
On arrival, visitors should be sure to set their viewers in accordance with the local instructions – accept the local windlight, then ensure Advanced Lighting Model (ALM) is set via Preferences > Graphics and, if your system can handle them, enable shadows (a little is lost in terms of general ambience by not having shadows active, but not enough to spoil the installation). Once set, follow the tracks down into the mine.
Within the tunnels and vaults of the mine can be found Terrygold’s self-portraits, and the reason for the title . Rather than being in her usual alabaster skin, she is using an ebony skin for the portraits – so she is literally a reflection (image) of herself in black. Presented in a large format, these are to be found spaced along the tunnel walls and within the side room and chamber opening off of the main horizontal shaft as it slopes and twists gently downwards.
The mine itself is superbly done – testament again to Terrygold’s skills as a designer. Beautifully lit and atmospheric, it gives a very real impression of going underground. The lighting is extremely well done (again, just make sure you have ALM enabled), while shadows further add to the ambience.
The setting might also be a play on words, working on a number of levels. Gold is often mined, and we have Terry’s full name – Terrygold, so we are literally entering a mine to discover the gold of her images. Coal is also mined, and this is a celebration of an ebony look, so again there could be a thematic tie. Finally – and as Caitlyn pointed out, there is the reference to black gold used in jewellery. Just as the latter can be produced by a variety of means, including eletroplating, which sees the gold coated with black rhodium or ruthenium, so Terrygold has coated herself in an ebony covering to produce these images.
My one minor quibble with the installation is that the lighting does in places work against the images; in places it can be a struggle to fully appreciate them. Nevertheless, this is an intriguing and interesting installation to visit.
Inara Pey: Living in a Modemworld 