Tag: Art 2017

Moni’s Sensuality in Second Life

Posted on by Inara Pey
Nitroglobus Roof Gallery: Sensuality

Monique Beebe makes a welcome return to Nitroglobus Roof Gallery, curated by Dido Haas, presenting the final exhibition for the gallery’s 2017 season, with Sensuality.

I was deeply taken by Monique’s photography when she first appeared at Nitroglobus towards the beginning of 2017,  in what was the first public exhibition of her work, called Hidden Faces (see here for more). Now she returns with twelve more images for Sensuality, which are every bit as evocative and tantalising as her first exhibition, and which once again feature herself as the primary model in each of them.

Nitroglobus Roof Gallery: Sensuality

These are all pieces with a depth of style and beauty which is as evocative as the images she presented in Hidden Faces, and which, in some cases, are NSFW. However, these are far more open in their approach and, to my mind at least, more powerful both in terms of their presentation and their content. As the title of the exhibition suggests, sensuality is the focus of the images – but what makes this exhibition fascinating is the breadth of sensuality displayed within the pictures.

There is, for example, the sensuality of the female form – dressed or semi-nude; the sensuality expressed through a look or pose; there’s the sensuality of power conveyed through expression and dress; the sensuality of intimacy between consenting adults, (one also laced with a little D/s), and more. Take Strong for example: there is both beauty and power evident within this striking study of a single woman in which the power expressed in her look is sensuously softened through the red Brocade Cheongsam Brocade Cheongsam brocade cheongsam style dress she is wearing.

Nitroglobus Roof Gallery: Sensuality

Then there is Spanking, and while the context of the image is clear from the title, the image itself is fair more subtle in nature. Spanking – even in adult games  – can have a hard edge to it; yet here, the unzipped dress, the positioning of the man’s hand, gives the entire picture a more sensual aspect: is he about to spank her – or run his hand gently up her exposed back?

And so it is that each of the pictures on display offers not just an expression of sensuality, but also an underlying story waiting for us to discover as we approach the pictures in turn. Again, the off-camera look in Strong raises the question: what is she looking at to cause such a stern expression? Is it something truly displeasing, or is it that she is playing a role – or is it merely the casting of the lighting within the image?

Nitroglobus Roof Gallery: Sensuality

All of the pieces have their own attraction, but for me Steampunk, also chosen to promote the exhibition, is the most powerful and sensuous. It’s a beautiful study, with layered sensuality – the cat-like litheness of the pose, with enclosing flow of the metal-ribbed leotard, her expression; all combine to present a marvellous piece of art.

This is another stunning exhibition from an artist with considerable talent and the ability to project and evoke mood and feelings through her work. Not to be missed.

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Sisi’s Mystery of Nature in Second Life

Posted on by Inara Pey
Paris Metro Gallery: Mystery of Nature

Now open at the Paris Metro gallery in Second Life is Mystery of Nature, an exhibition of art by Sisi Biedermann, presenting 14 pieces of work for our appreciation.

“I joined Second Life in 2007, and back then I never realised how much this would mean to me, ” Sisi says of her art and her time in Second Life. “Back then I had just started painting with acrylics after a very long break where I raised my children and looked after my family and my work. I started taking photos in Second Life in 2008, and have developed my style ever since.

Paris Metro Gallery: Mystery of Nature

“Over the years, I have amassed several hundred paintings,  and I still get a lot of inspiration from nature, Second Life and northern islands such as Faroe Islands and Iceland.”

The pieces selected for this exhibition reflect Sisi’s love of nature, whilst offering pieces with a slight fantasy twist to them, complete with a touch of the abstract. From landscape studies to works focused on people / avatars, it’s a remarkable selection, rich in colour and depth, broad in style and composition. Nature is reflected in all of them, from being the focus Fern through to the autumn leaves framing The Chinese Tower or the mountains and Moon seemingly forming the backdrop of Top of the World.

Paris Metro Gallery: Mystery of Nature

The fantasy elements are perhaps clearest in  Faery Land and Magic Book, but so too is it event in other pieces as well – such as The Bridge, with its rich symbolism, and the framing of The Edge. Similarly, the abstract nature within the pieces is both obvious and beautifully subtle.

This is a superb selection, of art, one well worth visiting and the individual pieces very collectible for hanging at home.

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A 1928 trip to the north pole in Second Life

Posted on by Inara Pey
1928 Polo Nord

Now open at Solo Arte, curated by Melania (MelaniaBis), is 1928 Polo Nord, the latest installation by Terrygold. Best known for her evocative avatar studies, for this installation Terrygold has turned to history. Working with the assistance of Melania and Annalisa Muliaina, she has built an installation commemorating the ill-fated polar expedition of the airship Italia in 1928.

Italian aviator, aeronautical engineer Umberto Nobile was one of the pioneers of airship design in the early 20th century. In particular, he was responsible for the airship N-1, the Norge, which, in 1925 was used by Norwegian Arctic explorer Roald Amundsen for a flight over the North Pole. Nobile helped arrange the expedition and served as the pilot. While it was a success, he and Amundsen fell out over who deserved the greater credit for the feat.

1928 Polo Nord

Possibly to cement his reputation as an Arctic explorer, Nobile decided to organise his own polar expedition, this time using the airship Italia, sister to the Norge, and which he also designed. After preparing the expedition over some three years, Nobile and his crew departed Svarlbard, the launch-point for the expedition on May 23rd, 1928. After a 19 hour flight, they arrived over the north pole in the early hours of May 24th. The plan had been to hover over the pole and drop off a team of scientists and equipment to establish a temporary polar base. However, strong winds prevented this, and after two hours circling the pole, the airship started on its return trip to Svalbard. It never made it.

Thanks to the strong winds and worsening weather, Italia crashed on the Arctic ice on May 25th. Seven crew were killed in the crash, one when the control gondola stuck the ice and was ripped away from the airship’s envelope and six more, who were in the envelope at the time of the crash and were carried away with in the winds, never to be found.

1928 Polo Nord

Seven of the surviving crew were eventually rescued in the world’s first combined polar air-sea rescue operation – although it took almost two months for all of them to be recovered (one man died of exposure). The survivors were able to use the equipment intended for the temporary polar base, equipment salvaged from the control gondola and – thanks to the quick wits of the chief engineer – additional supplies and equipment he threw out of the ruptured airship envelope, even as it rose back into the sky after the crash, carrying him and the others trapped aboard it to their deaths.

In commemorating these events, 1928 Polo Nord presents a two-part installation. At the landing point is a photographic record of the expedition, neatly displayed within the frame of an airship’s hull. Each picture is accompanied by text captions in English or Italian, which can be triggered in local chat by clicking on the appropriate country flag. The photos are of the expedition itself, the Italia, the crash site and the support ship, the Città di Milano – the crew of which were partially responsible for rescue operations being delayed by a week as they failed to maintain a proper radio watch, and so didn’t pick up the SOS signals from the crash survivors.

1928 Polo Nord

At the forward end of the airship hull is a model of the Fokker Dr4 flown by Einar Lundborg of the Swedish Air Force, who effected the first rescue (Umberto Nobile himself, although he wanted Lunberg to take his injured mechanic). Lunbborg himself became stranded with the remaining survivors when he returned to attempt a further rescue, and his aircraft crashed.

A teleport is located in front of the ‘plane leads down the to second part of the installation – and Arctic ice where the survivors awaited rescue following the crash. This includes the wreck of the control gondola, the crashed Fokker Dr4 and the famous red tent which gave the survivors a degree of shelter. And don’t miss the poem by Judy Barton commemorating the crash.

1928 Polo Nord makes for a most unusual – but still engaging – installation.

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The Argument in Second Life

Posted on by Inara Pey
The Argument: Liquid, Sommer, Tim Timaru, Anke Zamani and Mistero Hifeng

Opening on Tuesday, November 28th 2017 is The Argument, a collaborative exhibition featuring eighteen artists, taking place at Serena Imagine Arts Centre (the exhibition space is south of the landing point across the water).

“It is the second competition I have run,” the centre’s curator, Vita Theas, informed me. “Its a way for me to give a little prize to the artists, to thank them for letting me share their art with visitors here. The theme is about how many unjust things are in the world today, and how many feelings of hostility are festering among our global neighbours.”

The Argument: Nino Vichan

The eighteen participating artists are Aldiladeisogni, Aniwitt, Birdguru, Dilligaf, Lilarya, Maura77, o0Crystal0o, Lin Carlucci, Mistero Hifeng,  Scotsgraymouser Janus, Daco Monday, Blip Mumfizz, Liquid Sommer, Theda Tammas, Otekah Timaru, Tim Timaru, Nino Vichan, and Anke Zamani. Each presents a single piece on the subject, either as 2D or 3D art.

Given this, the pieces on offer take the core subject from a wide variety of angles and offer a broad range of interpretations. There is a focus on the complexities of personal relationships  – the most direct form of argument – are represented through portrayals of domestic disagreements, the consequences of a rushed marriage, the question of who we really are within a relationship and the masks we wear. But broader “arguments”, those brought about by racial discrimination / genocide, and war are also tackled.

It’s an eclectic, diverse collection of images and pieces, each one offering a unique perspective on the subject matter, making this an interesting exhibition.

The Argument: Otekah Timaru, Dilligraf and Lin Carlucci

As well as participating in The Argument, Italian artist Aldiladeisogni – a favourite of mine, to be honest – is the subject of a second exhibition at Serena Imagine, located just across the water from the group display (take the covered wooden bridge and cross the island between the two display areas). Six of his extraordinary avatar studies are on display, one offering a direct link to The Argument, being a sister piece to his submission in that exhibit.

The island between the two exhibition offer a route to a reproduction of the French Château de Chenonceau, built by Louis-Jean-Marie de Bourbon (Cedric Hansome) and donated to Vita so it could live on in Second Life following his departure. This is a marvellous period build, and one not to be missed.

Serena Imagine Arts: Aldiladeisogni

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Respect in Second Life

Posted on by Inara Pey
2Lei – Respect: Ciottolina Xue

Respect is the title selected for the 2017 2LEI art recognition of the International Day for the Elimination of Violence Against Women, marked on November 25th. Open now through until the end of 2017, this is one of the most involved art installations I’ve visited in Second Life, presenting the work of some 71 visual and music artists either directly or in supporting roles, with no fewer than fifteen primary art display areas.

While marking International Day for the Elimination of Violence Against Women, the subject for the installation casts a wider net for Respect – including as it does respect for women, children, individuals, sexual orientation, race, self, and those around us. This makes for a very involved series of installations which requires time – possibly over more than one visit – to fully take in and appreciate. To help with this there is a range of events scheduled through the rest of the year, details of which can be found at the 2Lei blog.

2Lei – Respect: Nino Vichan

With so many displays and levels, coupled with the quality of art on display, a comprehensive review of the installation would be extremely long-winded; similarly, picking individual elements for consideration is equally difficult. What can be said is that there is a rich mix of individual focus on the broader topics noted above, some of which are deeply thought-provoking, others are visually impressive while other may appear to come at their subject from a slightly unexpected angle and one or two, frankly, might confuse or perhaps seem more a generalisation than a focus.

The ground level features the works of fifteen artists, with 2D and 3D pieces ranged around a watery setting under a bright sun, together with the landing point, presentation theatre and teleport boards for reaching the fourteen sky platforms for the installation. Artists on this level include Rebeca Bashly, Dido Haas, Mistero Hifeng, Desy Magic, Ciottolina Xue, to name just a few.

2Lei – Respect: Lagu Indigo and Stardove Spirit

The teleport kiosks provide access to 14 sky platforms, each one featuring the work of an individual arts or a collaborative team. These are – in order of ascent through the levels: Theda Tammas, JadeYu Fhang, Pale Illusion, Laug Indigo and Stardove Spirit, Aneli Abeyanti, Patrick Moya, Nino Vichan, Daco Monday, Black Label Exhibitions Corner, Nevereux, Pol Jarvinen, TerraMerhyem, Red Bikcin and Mona Byte.

Each level is of a fixed size, which the artists have been able to use as they choose, arranged so that visitors arrive on one platform (with teleport options for returning to the ground), move through the display area and out to a second teleport options for returning to the ground or continuing up to the next level. As with the ground level, there are small 2Lei boxes alongside the artist name boards which will offer a folder with the artist’s biography and – perhaps – an outline / description of the work they are displaying.

2Lei – Respect: Rebeca Bashly

As noted, there is a lot to see here – and I admit that in viewing the sky platforms, I was particularly drawn to Nino Vichan’s installation, and the Black Label Exhibitions Corner piece. The latter, largely focusing on GlitterPrincess Destiny’s images. This is perhaps the most involved, and shows a considerable amount of expression on the subjects in an environment that is semi-interactive, requires exploration and offers a lot to see.

In all, a thought-provoking series of exhibits, rich in interpretation and presentation.

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UWA Art of the Artists: machinima challenge – update

Posted on by Inara Pey
Poster by Eliza Wierwright

In July I was able to break the news that the University of Western Australia would be retaining a presence in Second Life, and that in recognition of this, was launching a special UWA machinima challenge, Art of the Artists, sponsored by LaPiscean Liberty of SLArtist and Singh Albatros and The Writers Centre, Singapore. On offer is a combined prize pool of L$350,000, including two special prizes.

The closing date from entries is December 31st, 2017, and videos for the competition are being hosted at the SLArtist website. Given there is just over a month to go before submissions close, I thought I’d take a look at some of the entries to date – with no personal preference implied – and run through a reminder of the main elements of the contest. However, as the SLArtist website utilises raw tags (which are considered a no-no by Automattic on WordPress.com hosted blogs), I’m embedding the videos as uploaded by the artists to YouTube.


Isabelle Cheren’s Before The World Was Made, featuring the work of artists Noke Yuitza, Otcoc Resident & Phillysmaybe Resident, Peli Dieterle, Igor Ballyhoo, and Rosie Dimanovic

In short, entrants may choose individual pieces of art or a collection around which to weave a story. However, the art must be a relatively significant part of the story, and not merely something glimpsed in passing, and films to be considered for any of the prizes must not be any longer than 8 minutes in duration (longer films can be submitted but will not be eligible for any of the prizes).

Selected art for a film may be filmed in its current location. however, films do not need to be restricted to these locations, as long as the art is the focus of the story being told. Entrants may contact artists about filming their works in other locations and / or collaborating with them on a film.


Joseph Nussbaum’s Alcyon and Ceyx featuring the artwork “A Virtual Wander in Two Dimensions and a Half” by ErikoLeo

The prizes run from L$75,000 for the first prize, through to five prizes of L$7,000 each for the films judged in 6th through 10th positions. In Addition, there are two special prizes:

  • L$50,000 UWA Art of the Artists Special Prize: this will be awarded by Jayjay Zifanwe on behalf of the University of Western Australia
  • L$50,000 The Merlion Special Prize: this will be awarded by Singh Albatros on behalf of The Writer’s Centre, Singapore to the film which – in the view of the judge –  best represents the The Merlion,  the national personification of Singapore.

The 10 main prize winners will be selected by a selected panel of judges. Details of the full panel will be available on the UWA website soon. Each of the special prize winners will be judged independently to the judging panel, and as such, may be eligible for a prize in the general classification as well.


Bryn Oh’s Cerulean featuring the artist’s own work “The Cerulean”

Art which can be used in films submitted to the Challenge can be found in the following locations:

  • The UWA Main Gallery – the primary exhibition space for art at UWA, including entrants to the most recent challenge, Transformations, which is expected to remain up at least through the end of this year.
  • The UWA Main region – this is the home of the iconic Winthrop Hall clock tower, Somerville outdoor cinema, the Moreton Bay Figs, and Sunken Garden. Some of the art from the UWA regions which will be closing will be relocated to platforms above this region. The relocation work is expected to be completed by the end of July 2017.
  • The Merlion – celebrating Singapore’s iconic Merlion sculpture, the full-sized version is hosted by the Monash University in Second Life. The smaller version at te UWA offers information on Merlion Portal Project concerning cultural, literary and artistic significance of the Merlion. It also provides a landmark to the full size installation.

Gerhard Helmut’s 3rd Eye Open. Artworks featured are “The Pineal Gland” by artist Ub Yifu, “He Holds Her Heart” by LunaEnigma – Luna Cobain, “Skeleton” by JointVenture Resident and “The Merlion” by Rebecca Bashly.

Additional Requirements:

  • Completed films should be uploaded, preferably YouTube or Vimeo, and a link to the film sent to  Jayjay Zifanwe and LaPiscean Liberty.
  • Entries should acknowledge all art featured and acknowledge / have the authorisation for any music used.
  • Rights to all films should be held by the creator, but by entering the challenge permission is given for films to be shown on the UWA Blog, the Slartist Website and to be played on UWA lands.
  • The ten winners of the general prizes will be adjudicated by a panel of 5 judges. The special prize winners will be selected by Jayjay Zifanwe (UWA Special Prize) and Singh Albatros (The Writer’s Centre prize).
  • If you have questions, want to discuss anything, or add to the prize pool,  please contact Jayjay Zifanwe.


Suzie Anderton (Inworld Films) Never Say Never, featuring the prize-winning installation by Sharni Azalee.

For full details on the contest, please refer to the original UWA blog post.