Tag: Art 2020

Gem Preiz, the master of the fractal image, has opened a new themed exhibition at the Hannington Endowment for the Arts. One of the artists whose work I particularly admire (and who has therefore been reviewed frequently in this blog due to the richness of his art), Gem brings to Elusive Reality another mix of fractal images and thought-provoking context.

The core thrust of this exhibition might be summed up as “the more we as a race know, the less we understand.” Or as Gem notes in the introductory piece at the entrance to Elusive Reality:

Scientific discoveries of the 18th and 19th centuries have enabled us to apprehend more precisely … the secrets of reality.

With the recent discoveries about elementary particles, and the formulation of increasingly complex physical theories, the end of the 20th and the beginning of the 21st centuries throw us back into doubt, without weakening the insatiable curiosity of researchers. Each discovery raises as many new questions as it solves enigmas, making the material [world] around us an increasingly elusive reality.

At one time, the atom (the existence of which was still a subject of dispute until the early 20th century), was thought to be the single elementary particle – it’s name literally meaning “unable to cut”. It was seen as the building block of matter, the foundation of all that there is. Yet, within a short span of decades, an entire family of elementary particles have been discovered “below” the level of the atom – such as elementary bosons and fundamental fermions (quarks, leptons, antiquarks, and antileptons). These have given rise to an entirely new model of physics – the Standard Model, as well as giving rise to quantum mechanics, whilst at the same time, offering a hint of things yet to be confirmed that lie beyond the Standard Model, such as supersymmetry and offer conjecture about yet-to-be confirmed elementary particles such as the graviton, which might completely revise our understanding of physics.

These theories, ideas, confirmations, questions and conjectures are represented in a series of Gem’s marvellous fractal images. They offer glimpses into a sub-atomic universe, where all of our constructs and monoliths become fragmented into seemingly random formations of shapes and colour. Within these pieces are swarms of objects – some ranging from the hexagonal to the octagonal to the decagonal and possibly beyond, others the spherical. They exist in globs and clouds and extrude themselves as strings or curl around in hints of familiar patterns  – DNA, RNA – without ever actually being so.

From a distance, they may look faintly sci-fi: swarms of asteroids or gaseous clouds floating in space, almost natural in form. Closer up, they become fragmented, breaking into the elemental pieces noted above. Thus, they reflect the changing face of physics – a face which from a distance looks cohesive and whole, but which becomes increasingly fragmented and chaotic as we plumb their depths, as Gem notes, whilst remaining bound together by rules we are just managing to conceive or grasp, even if their nature appears to remain foreign to our complete understanding.

For those familiar with Gem’s work, these pieces, with their almost organic look and textures (be sure to have ALM enabled when viewing this installation) may seem at odds with his more familiar “architectural” images of huge monoliths and giant other-worldly structures. In this the contrast helps serve the idea that we are looking deeper, beyond the organised formality of atoms and into the mystifying world of the sub-atomic. But there is also something of an echo here of Gem’s more natural fractal forms, which itself goes back to some of his earliest installations in SL, such as Cathedral Dreamer, which matched the organic with the more structured. And indeed, the Cathedral Dreamer himself might be located within this installation for those who look, head-in-hands, as if trying to reach his own understanding of the universe of the subatomic.

There is also – if I might suggest – something of a reflection of the current climate of concern present around the globe due to the novel conoravirus outbreak: it’s hard not to see some of the elements in these images as viral strings or clusters, offering a reminder that it is not just in the world of physics where our knowledge and understanding is being challenged…

Elusive Reality is an engaging, captivating installation that intentionally gets the grey matter between the ears working due to both its visual complexity and its underpinning tapestry of meanings and interpretations. Not to be missed.

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• Hannington Endowment for the Arts Hive 1 (Xeltentat Enterprises, rated Moderate)

It’s not often that you come across Friedrich Nietzsche, Hafez, Amelia Atwater-Rhodes and Julie Andrews (among others) serving to give voice to items within an art exhibit, but that’s exactly what you’ll find with Peace vs. Chaos, which opened on Saturday March 14th at Artful Expressions gallery, curated by Sorcha Tyles.

The work of Kimmy Ridley, the exhibit feature nine images, four on the subject of chaos, as visualised by Kimmy, four on peace and the ninth a combination. The two groups of four are highly individualised. The four on the subject of peace are perhaps the most easily recognisable: scenes (for the most part) rich in colour, capturing what might be considered peaceful times: summer days, frolics in the countryside, delight in a falling feather – even the forth, an exuberant  throwing wide of arms while astride a bicycle, denotes joy – an emotion that we tend to display when we’re a peace in ourselves.

The chaos images are a little less straightforward, perhaps. In opposition to those depicting peace, three are in black and white, and one in colour. In this they sit as the yin to the three colour and single black-and-white yang of peace. With and blurred rendering of a face, two bodies sans head and the third with the slightly enlarged head floating above (ahead?) of a body out for a stroll.

These are all very esoteric, but it might be said chaos appears to be lacking. Whilst unusual, these images at first don’t appear to invoke a feeling of chaos; that is until we consider the personal nature of the peace images. these all suggest settings that, while they might be familiar to us as peaceful settings, are also very personal. And so it is with the chaos images, each of which offers a personal sense of chaos – of literally feeling that life has one losing one’s head.

The ninth image combines elements of peace and chaos – but perhaps not in the manner that might first be thought. While it would be easy to see the bright colours of the flowers as an expression of peace in keeping with the other peace images, and the skeleton representative of chaos, I’d suggest the reverse is true: the bright cascade of flowers might be seen as representing the natural chaos of nature, and the skeleton the peaceful slumber of death.

Thus together, these images present a personal view of peace and chaos, underlined by the personal selection of quotes offered as a part of the exhibition (just take the information board). These are ideas to which we can all relate times of joy and happiness, confusion and upset; in short, the Peace vs. Chaos that can so often be a part of our lives.

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• Artful Expressions Gallery (Vibus Ten, rated Moderate)

Kultivate Magazine and Gallery premier a new exhibition space on Tuesday, March 17th, 2020 with the opening of the Kultivate Signature Gallery, a new 3-storey hall that will provide exhibitions by established Second Life artists. for its opening exhibition, it features the work of Melusina Parkin.

Melu, whose work stands as one of my featured artists in this blog, has an exquisite balance in her photography, a fine blend of detail, space and minimalism, all carefully combined and crafted to present images that are elegant in their unique focus, and rich in narrative and feeling. This is once again apparent with Listening to the Silence, as presented at the Signature Gallery.

In writing about the exhibition, Mule notes:

Sounds and words fill the world up. Nature talks by wind whistling, waves lapping, animal sounds; humans speak, cities talk by signs. Silence is rare and it’s never absolute. It’s a gem we have to keep carefully. Silence allows us seeing the world without the distractions caused by the sounds and seeing more clearly our interior worlds.

And so it is that with Listening to the Silence, we are presented with a series of signature Melusina Parkin views of Second Life. No, not “views”, but “portraits”; Melu’s work so uniquely captures the virtual world in which we spend so much time, that each piece genuinely presents a sense of a living, breathing entity, one in which the presence of avatars would actually reduce that sense of life within it, rather than enhance it.

This is a collection of images that offer something of a continuation / reflection of ideas witnessed in past exhibitions such as Empty Spaces and Night Walks. In this selection, we are presented with views into deserted rooms, along empty streets, and over lonely waters. Each piece is haunting in its singular beauty – but we’re not being asked to just look at them, but to hear their very sounds of silence, again as Melu notes:

A photograph doesn’t produce sounds, although it can suggest them; so we can observe things just imagining their noise or appreciating their quietness. Images stop any movement, then they stop any sound as well. Silent images – images of silent things – are closely related to a sense of loneliness and of absence; we can multiply the meanings we give them.

In pointing us towards this consideration of the absent sounds within photographs, Melu is opening a much broader door to how our imaginations might otherwise create the narrative to accompany each piece. However, there is perhaps something more to this exhibition; something perhaps unintended when conceived (or perhaps not, I’ve no idea as I’ve not spoken directly on the exhibit), but utterly prevalent to the global situation the is unfolding before all of us.

The spread of novel coronavirus disease 2019 (COVID-19) has seen cities forced into lockdown, travel restrictions enforced, and general warnings for people not to gather in groups and to remain home / work from home wherever possible. The result has been a strange emptying of streets and places – perhaps not to the extent witnessed with Melu’s images, but still very evident. Thus, her pieces within this exhibition might be seen as presenting a silent echo of what we’re seeing world-wide in the physical world. In doing so, they offer a very different voice, a reminder of the chorus of sounds that accompany our daily lives that, if not entirely silenced, has been quelled.

So it is that Listening to the Silence can be seen as a richly layered exhibition, one with the power to not only engage us in reflections about how we perceive the digital world where we spend or time or on how sounds affect our daily living; but also the potential for the world that we regard as ours and familiar, to still present us with a collective threat and challenge.

Listening to he Silence formally opens at 13:00 SLt on Tuesday, March 17th, with music by live performers Parker Static and SaraMarie Philly (14:00 SLT).

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• Signature Gallery, Kultivate Magazine (Water Haven, rated Moderate)

Currently open at both the Focus Photo Gallery and the Focus Artist In Residence (FAIR) galleries, operated by Focus Magazine and curated by AngelaThespian and PatrickofIreland are a set of exhibitions I enjoyed viewing over the weekend for their mix of subject and styles.

Having opened on March 6th, the exhibition that the Focus Photo Gallery, located on the upper floors of the Magazine’s main building, features the landscape photography of Charly Keating (ladycharis). Described as a “painter of thoughts; photographer of dreams” her work is just that: art that offers settings as they might appear in thoughts and dreams.

Dark-toned, carefully post-processed to emphasise certain elements – clouds, Sun, sky as a whole, the fall of light on a wall, and so on, and composed with an eye for harmony and balance between foreground and background, these are pieces in which it is easy to become lost. Such is the beauty of each scene offered, that it is both simultaneously new and yet familiar, regardless of whether or not we recognise the actual location where the original image may have been captured. They are evocative of memories that appear to be ours whilst in truth remaining Charly’s own vision.

Rich in colour and content, evocative in presentation, this exhibition served as my first exposure to Charly’s work in-world, and I look forward to seeing more in the future.

The remaining four artists considered here have their work exhibited at the FAIR gallery, a short walk across the sky platform from the Focus offices.

On the ground floor, Rachel Magic (larisalyn) similarly use her studies of landscapes settings and self-portraits to tell a story. She does so through a broad palette of styles, from black and white through to colour, with some using tonal approaches to their finish, others leaning more to painted scenes than photographs. All have touches of detail that help to draw the observer into them and frame their own narrative around the picture.

Across the hall, Jason Westfield offers a series of avatar studies that again offers a range of styles and approaches, from self-portraits through to subtle female studies rendered in a number of finishes that tend to draw the eye to them, although I personally felt the most evocative of the pieces displayed are Mask and Hand. The latter in particular is beautiful in its apparent simplicity, and yet deeply nuanced in potential interpretation and artfully presented.

The upper floor of the FAIR building presents what might be considered a join exhibition by SL partners Vin Soulstar and Airi Soulstar (AiriTryst).

Both exhibits again focus on avatar studies and between them revel the couple’s relationship and a couple and as photographers. As such, these exhibits stand as both complimentary and complementary halves of the same coin, so to speak.

Within each side of the floor where they are displayed, we’re offered insight into the individual styles used by Vin and Airi – colour, tone, lighting, post-processing, finish – which sets them apart as individual photographers. At the same time, we are given witness to the manner in which they view their work and lives as an SL couple, which draws their respective exhibitions together into a single whole.

An engaging series of exhibitions, nicely brought together in a single place, the Focus Magazine and FAIR galleries are well worth a visit. Should you do so, don’t forget to also pay a visit to the Exploratorium of Art, located under the main platform, and accessed via the building at its southern end.

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• Focus Magazine Gallery (Desert Shores, rated Adult)