Finding Kusama is the title of Cecilia Nansen’s latest exhibition, which is currently being hosted by DiXmiX Gallery, curated by Dixmix Source.
I’ve long been an admirer of Cecilia’s photography. She has an evocative, emotive style that offers a rich vein of narrative – but Finding Kusama is something of a departure from Cecilia’s usual approach to her work, as she herself notes.
Kusama came to me with her dots, dots, dots and what I admire so much in art myself; femininity, minimalism, simplicity and clean lines. Meeting her, I knew I had to ‘play with her’ and find my inspiration in her universe. Pop art is not my usual style, but Kusama pulled me in. She made my brain bubble in ideas, like a child with a hundred pastels and a brush.
The Kusama in question is Yayoi Kusama, the Japanese contemporary artist most noted for her work in sculpture, but is also active in painting, performance, film, fashion, poetry, fiction and other arts. As a conceptual artist, she blends multiple approaches and styles – particularly abstract expressionism – and is regarded as one of the most important and influential artists to emerge from modern Japan.
A particular trademark with Kusama’s work is her use of polka dots, and this is very much reflected within Finding Kusama. Seven of the 12 pieces in this collection offer bright, vibrant pieces rich in the use of polka dots, each with a degree of minimalism Kusama herself would appreciate. There is a wonderful sense of fun about these pieces – which again, is precisely what Cecilia intends.
The remaining five images in the collection are monochrome, and while continuing the minimalist approach, they are split between those echoing the polka dot theme with its lightness, and some that plumb a deeper, more personal depth for Cecilia, and which reflect a situation she recently passed through.
Love is the title of the latest exhibition of photography to go on display at Sorcha Sanvean’s (Sorcha Tyles’) boutique-style Artful Expressions Gallery. Featuring the work of Australian photographer Kazrakk, the exhibition present six engaging pieces that offer insight into the many facets of the love between two people.
Featuring Kazrakk and his SL partner, Ninna, as the subjects in all six images, Love also might be seen as offering a window into their own relationship. There is something very personal about each of the photographs within this selection that embraces tenderness and lover – but which does not, by any measure leave the viewer feeling discomfited by thoughts of being a voyeur; even the images featuring near full-body nudity have a tenderness and grace within them that imbues of a feeling of sharing, rather than that of intrusion.
Presented in both colour and monochrome, there are pieces that perfectly showcase Kazrakk’s ability to frame a moment in time, each picture captivating in both style and in narrative. There is a richness with each piece, whether it is focused solely on the avatars themselves, as three of the pieces are; or whether it offers a broader canvas, where the background plays a role in setting the tone of the narrative (the two here using Norderney and Chochou’s Memento Mori to marvellous effect); or whether it is an expression of pure artistic styling that offers a unique perspective on love and attraction, as seen in the first piece in the series, simply referred to as nr. 1.
Love is a small exhibition, true, but it is also one that leaves you wanting to see more of Kazrakk’s work, and this can be done by visiting his Flickr photostream. Now set within its new mainland home, Artful Expressions once again offers an alluring and engaging exhibit.
Shuǐmò, or shuǐmòhuà (suiboku-ga in Japanese), is a type of East Asian ink wash painting that uses different concentrations of black ink to create an image. It first emerged in Tang dynasty China (618–907), before spreading to Japan (14th century), Korea and to India. Beside the use of black ink in place of colours, it is also marked by the emphasis of the brushwork being on the perceived spirit or essence of the subject, rather than directly imitating its appearance.
It is also a form of art that has been quite marvellously brought to life by Second Life and physical world artist FionaFei as the basis of her latest art exhibition. This features a core element called Wo Men Dakai, which Fiona describes thus:
Wo Men Dakai (Chinese for “My Door Opens”) is an art installation I’ve created in the style of Chinese ink brush painting. The purpose of the space is for a role-play Firefly-based RP where my RP character YiLi graduates into a Registered Companion. However, the inspiration for the creation is from my own personal artistic journey in real life and in second life, and most of it really stems from who I am as an artist in both realities.
While not everyone might be familiar with Joss Whedon’s (too) short-lived science fiction TV series Firefly (from which I freely admit taking my first name in Second Life!), having such knowledge is not s prerequisite for any visit to, or appreciation of, this installation.
From the landing point, visitors are invited to walk along unrolled scrolls of xuan paper, the traditional material for Shuǐmò painting. On these are painted the Chinese symbols for Wo Men Dakai as they point the way to a pair of great red doors. When touched, these will slowly open (just give them time) to reveal the gallery space proper.
This is a spherical space that is the embodiment of shuǐmò; a Chinese water garden wherein all the major features are produced as ink wash images / pieces: the bridge, the lilies floating on the water, the rocks on which the art is displayed, the overhead rocks from which water falls in black-and-white lines to fill the pool of the water lily garden.
Shuǐmò might be described as an ancient Oriental form of what we in the west call impressionism; a form of art where – as noted above – the aim is to capture the essence, not imitate the physical.
So, for example, when painting an animal, the ink wash painter seeks to present the animal’s temperament, not is muscles, sinews and bone structure. And so it is with the gallery structures here: the form and essential essence of the bridge, the lilies and surrounding plants are provided, while the intrinsic details: complete railings on the bridge, the details veins on leaves and petals is not so relevant.
Within the space are two marvellous and contrasting selections of art.
The first is a trio of 3D pieces, again in a traditional Chinese style bordering on shuǐmò, but which use add splashes of colour – red and green – that, together with the animations – bring a sense of life and vitalities to the pieces in an completely enticing manner.
The second is a beautiful set of charcoal on newsprint studies of the human body. These fourteen drawing offer the strongest contrast to the shuǐmò theme, presenting as they do a very western approach to anatomically detailed art featuring the human body, male or female – but which, through the use of charcoal in varying concentrations, nevertheless contain within them an echo of shuǐmò.
“I see life and my journey as a painting. It can be forever an evolving piece,” Fiona notes of her art. “At any given time, you think you’ve reached the end of it, but you can always add to it, layer it, and change it. In a sense, each brush stroke is like a footprint.”
In recognition of this, and as a part of the interactive nature of the exhibit, visitors are invited to take a selection of footprints (shoes, bare feet and paws), wear them, and leave their own marks (albeit temporary) as they “follow their own path” through the installation. There are also some koi carp gifts available at the landing point as well.
A truly marvellous exhibition by a wonderfully talented artist – but don’t just take my word for it. Go and see for yourself. My thanks to Pieni for the pointer!
La Maison d’Aneli, curated by Aneli Abeyante, is hosting another intriguing exhibition of 2D and 3D art. With its opening having taken place on May 15th, the exhibition features Giovanna Cerise, Delalune Ella, McGrafite, Vroum Short, Tshirtkikill Straaf and Mathilde Vhargon.
For her 3D installation, Giovanna Cerise uses a quote from Italian writer and poet, Alda Merini, One lies on the back of the world and feels. It is the final line from Merini’s poem I like the verb “to feel”, one of a series of reflections on words, and the theme of the poem – that of feelings – is the core reflection of the elements of Giovanna’s installation.
These start with a sculpture of a woman lying on her back bearing, appropriately enough, Ci si sdraia sulla schiena del mondo (“one lies on the back of the world”). Around this are pieces with titles intended to evoke emotional states: Waiting, Transcendence, Solitude, Eros. All of these are placed within a series of monochrome geometric forms that echo some of Giovanna’s previous installations and is something of a motif of her work.
Also on the same level of the gallery as Giovanna’s installation is a selection of Mathilde Vhargon’s digital paintings that mix an abstract approach with geometric pieces, most of which are created more-or-less as a stream of consciousness approach, rather that any “premeditated” approach, as Mathilde herself notes:
My paintings suggest themselves to me a little at a time without conscious planning. I often use small sections of them as materials to develop into new paintings … I love strong colours and flowing abstract forms. You will often find ambiguous suggestions that lead the viewer to imagine various possibilities and interpretations.
Sharing the same level of the gallery is another stunning selection of drawings by McGrafite, also known as Marisa Camelo, MC.
A physical world artist focusing on pencil-based drawings, I was first introduced to her work at the end of 2018 (see The art of MC Grafite in Second Life), when I noted there is only one word that can be used to describe it: striking; the selection of art presented at La Maison d’Aneli fully reinforces this fact.
Beautifully produced, with marvellously clean lines and presentation, these are drawing rich with life and vitality and – in the case of a couple at least – a hint of menace. Such is the beauty of McGraphite’s drawing I admit to being an admirer of her work since that first introduction in December 2018.
Beautifully produced, with marvellously clean lines and presentation, these are drawing rich with life and vitality and – in the case of a couple at least – a hint of menace. Such is the beauty of McGraphite’s drawing I admit to being an admirer of her work since that first introduction in December 2018.
On the upper level of the gallery is an exhibition of art and photography by Lune (Delalune Ella). Again split between the main floor and the galleried mezzanine, the lower part of the exhibition features seven pieces of Lune’s digital art. These have a spiritual element to them, which is perhaps most noticeable in the pieces that include mandala-like rosette forms. Rich in vibrant colours, these are modern pieces that quickly captivate and engage.
Above them, Lune presents 13 photographs that appear to reflect some of Lune’s travels around the world, and within which a love of water is evident. Again, these are evocative pieces, expressive in their tone and presentation.
Across the hall are twelve pieces by yogib33r (Tshirtkikill Straaf). These are perhaps the most unusual pieces of art I’ve recently come across in Second Life, reproductions of yogib33r’s physical world art. Pen and ink (I believe), these are whimsical pieces that completely defy description, but have a unique charm and attraction about them that allows them to stand as pieces of modern art.
Rounding-out this ensemble exhibition is Mirrors a 3D installation by Vroum Short of Vegetal Planet fame. When visiting, it is essential you have the Advanced Lighting Model (ALM) enabled in your viewer (Preferences > Graphics > make sure Advanced Lighting Model is checked – you do not need to turn on shadows as well), and to set your viewer’s time of day to midnight.
As the name suggests, this is an installation – split between two levels – representing mirrors and reflective surfaces. The installation comprises a series of halls with mirror-like rooms containing static and animated pieces, some of which are designed to physically mirror one another. Created through the use of projectors, these are visually stunning effects – providing you have ALM enabled, as noted above. For those who are interested, the installation includes teleports to Vroum’s Vegetal Planet art region.
Shattered Egos is the provocative title of an exhibition of art by Matt (MTH63), which opened on May 11th at the Lin C Art Gallery, curated by Lin Carlucci.
Also known as Matt Thomson in the physical world, Matt is a professional abstract artist and digital designer who, as well as producing some truly fabulous abstract pieces also has a quirky sense of humour, as witnessed by his bio liner notes:
Matt Thomson … approaches his art with innovation, fun and breakfast cereal. Matt believes that art should please the eye and make you feel like a man can paint in a straitjacket. He doesn’t take himself seriously, and his art shows a sense of fun and over dependency on sprouts and curry powder.
To use a truism, the beauty of abstract art is oft in the eye of the beholder; or to put it another way, it’s not everyone’s cup of hot brown milky beverage. However, it is among the art forms I particularly enjoy, and I seriously doubt those visiting Shattered Egos will not be captivated by the 20+ pieces Matt presents here.
Rich in colour and contrast, these are pieces that demand exploration and appreciation. Each has a story to tell – and I urge those visiting to allow each picture to tell its story as they see it, before using mouse hover / a right click to reveal the name of each piece. By doing this, the manner in which the narrative may suddenly morph – or perhaps be confirmed – is as remarkable as the shifting, swirling colours present within the art.
I’m not sure why the title Shattered Egos has been selected for this exhibition, but I suspect that it is in reflection of the fact that Matt’s work is ego-free. It’s clear from the irreverence he displays towards himself, together with the sheer expressiveness present in the images, it’s clear that each of these pieces has been created with a love of art and free expression, and not as a means of deep self-expression or personal reflection. Hence why, again in his bio liner notes, Matt quotes Oscar Wilde:
Art is the only serious thing in the world. And the artist is the only person who is never serious.
This further makes this selection of art richly engaging and well worth the time taken in visiting the gallery.
Currently open through until the 16th June, 2019, is a cosy exhibition of art by French artist and photographer, Ludi Taurus called simply Untitled.
Host by the boutique Galerie Alice, curated by Alice (angedem), Untitled serves as a superb introduction of a photographer I’d not previously encountered; one who excels in telling stories through her self-portraits. Featuring just ten images, the exhibition is captivating in the depth of narrative each picture holds, from fantasy to action to what can only be seen as personal moments seemingly captured by the camera when the subject was unaware.
From an alluring, single head and face portrait offered in monochrome, through to pure adrenaline-fuelled shots of a rain-soaked, motorbike-mounted gunfight, to a midnight period of introspection, these are images that powerfully convey emotions and engage the observer. Further depth is added to each on them in that, being untitled, other than what appears their date of creation, they leave us entirely free to interpret each image without any preconception, however incidental, a “proper” title might otherwise impart.
This is an alluring exhibition of photographic art, one – though I’ve said this before with exhibitions – that genuinely should not be missed.
Inara Pey: Living in a Modemworld 