Tag: Art 2020

October sees Akim Alonzo’s Itakos Project gallery host an exhibition of art that chimed a strong bell with me, thanks in part to my cosmological interest in astronomy, space exploration and science fiction. Located in the Black hall of the gallery, Space Oddity features a selection of 14 images that are predominantly monochrome in tone, with just touches of colour that give them an almost heartbeat-like splash of life.

It’s an exhibition that apparently grew out of a common interest both Caly and Akim share for the beauty of deep space, and also a mutual love of the music of David Bowie. Given Caly’s attraction to things like cybernetic enhancements and the use of prostheses in her avatar images, these interests combine to present a selection of 14 pieces that are framed by two stanzas from Bowie’s 1969 single, Space Oddity, released just five days ahead of the launch of Apollo 11 and which itself drew inspiration from the Kubrick / Clarke masterpiece, 2001: A Space Odyssey.

This is Major Tom to Ground Control
I’m stepping through the door
And I’m floating in the most peculiar way
And the stars look very different today

– David Bowie, Space Oddity, 1969

These 14 images take us on a voyage, one that wonderfully encompasses several elements, all of which could be said to be reflective of thoughts of space – inner and outer – whilst touching on elements of identity and of human progression and the state of the world around us.

Intentional or not, the offered images appear to be split into three groups, each with its own story, each of which it turn goes beyond the subject our deep space.

On entering the hall and turning to the left, the far end features a series of avatar images set against backdrops that seem to offer up views of who we are and what we might become, indicated by the various cybernetic and machine elements evident in some, and also by the almost tribal-like markings, some red and some blue. They also frame both the reality of our place in the cosmos (star fields and black voids suggestive of endless space) and the conceit that once attempted to put us at the centre of the universe (a head at the centre of an orrery, the planets orbiting around it).

A further set show a hardsuited figure on a planetary surface, mechanical hands clutching a posey of daisies. These again perhaps offer a mix of themes. On the one hand, they could indicate the wonder of the universe that somewhere out there, one day, on another world, we may well encounter the beauty of life (represented by the daises), that we will cherish. But  might they also tell other stories? One perhaps that not matter how far we progress in space, Earth – as represented by the daisies – will always call to us? Or another that stands as a warning that if we do not start nurturing the world around us, the only way we might come to see its open spaces is from within the confines of hardsuits, the promise of life a scarce an precious find within its barren fields?

For here am I sitting in my tin can
Far above the world
Planet Earth is blue
And there’s nothing I can do

– David Bowie, Space Oddity, 1969

The final group of images take us to the original theme of the exhibition as discussed by Caly and Akim: that of floating in space. But here again the interpretation of the images is mixed.

On the one hand, the presence of the odd little fish, with their translucent scales revealing their skeletal forms suggest some of these images don’t represent outer space, but the inner space of an ocean. But is this again the ocean of another world, and the fish its strange inhabitants? Or is it a reminder that there is a vast “cosmos” around us on this very planet within the oceans that make up the majority of its surface, there is much that we have yet to discover – including the wonder of lifeforms of which we’ve remained ignorant for so long? It is, again for you to decide the narrative – although, as with the other images, selecting one story does not exclude any of these others.

Multi-layered, beautifully presented Space Oddity is a marvellously engaging exhibit that should be seen by all who appreciate art that stirs both the heart and the mind.

SLurl Details

• The Itakos Project (Black Gallery – ATL, rated Moderate)

The October 2020 exhibition at the Third Eye Gallery, curated by Jaz (Jessamine2108), brings with it a selection of art by Poppy (Popikone) and a second by Thus Yootz, both of who present pieces that are captivating to the eye and rich in narrative.

Poppy is a physical world photographer who discovered Second Life somewhat by chance: whilst entering various physical world photo challenges presented through Flickr she came across the work of Second Life photographer and became entranced by what she saw to the point of signing-up and getting involved. Since joining, she has become deeply involved in in-world photography to the point that she notes she has a backlog of around 2,000 images she has yet to process and upload.

Despite this, Poppy has never publicly exhibited her work in SL until Jaz approached her about this exhibition. Within it, she presents 26 images that are somewhat thematically defined as you view them, with some focused on water and boats, others on landscapes, and others on avatar and art. These are presented in a number of styles, some of which are mindful of painting styles (Girl in Blue) for example, with its Neo Impressionism overtones), others of which might be said to lean more towards Expressionism or Abstract). Many have a rich vein of narrative within them, some quite captivatingly so, while her use of colour brings her landscape images very much to life.

Narrative is also very much present within Thus Yootz’s work. With an MA in art, Thus has no fear in experimenting in style and genre, and here she presents a total of nine pieces, each individual and unique, encompassing a range of themes as well as artistic styles. Within some, there is a sense of abstract expressed through the use of colour (I Wish the fog would Lift and Sunny Summer Filled with Colour). Others offer rich studies, and I found myself particularly drawn to Sola Festa and – most particularly – Fantasy Garden Statues, which has a stunning depth and richness of story to it that is remarkable.

This is only the third time I’ve witnessed Thus’ work on display, and as the first two times her work was part of a larger ensemble exhibition, it is the first time I’ve been able to study it in the depth it deserves – and I hope to see more in the future as it is genuinely evocative.

Similarly, I hope that following this exhibition, Poppy will accept further opportunities to display her work – and gallery owners will seek her out as well, as she is richly deserving of the opportunity.

SLurl Details

• Third Eye Gallery (Midnight Sanctum, rated Moderate)

The October exhibition at Raging Graphix Gallery, curated by Raging Bellls, brings us a joint exhibition by Jamee and Matt Thompson, perhaps between known to many in Second life as Jamee Sandalwood and MTH63, who recently officially partnered in SL.

Both are well known for their photography depicting the sights and art of Second Life, their individual styles an engaging mix of the contrasting and the complimentary, depending on subject and  – I assume – mood. Indeed, so complimentary are their styles that but for the tell-tales evident in some of the piece in this exhibition, and the occasional presence of a name in a canvas corner, all of the photographs offered here might be mistaken as being captured by the same photographer.

Jamee’s work encompasses several genres, including landscapes, avatar studies, fashion photography and abstract pieces, although her landscapes predominant here. These generally tend towards softer tones and lighting, carefully processed to give a genuine feel for the time of day that frames them. However, more recently she has moved towards what she refers to as”shadow photography”, using both the play of light and shadows to create elements within her images, while at times also leaning towards darker tones in over composition.

Matt has also built a reputation as a landscape photographer, again as evidence in the pieces included in this exhibition. However, were Jamee sways towards softer tones and post-processed finishes, Matt often tends towards sharper, cleaner lines and finishes that – even when portraying reflections on the water – give his work a more crystalline finish, one so sharp in places that it feels as if a brush of the fingers over some of the lines of his images might well cut the finger.

This sharpness gives his pieces a sense of life and realism comparable to Jamee’s work, one that like hers reaches beyond the digital realm in which they were taken to offer something very tangible, whilst that same sharpness mentioned above offers that subtle contrast to Jamee’s work, gently pointing to the fact these these are pieces produced by two individual artists, even as they are unified by subject matter and tonal quality that can unify them into a single exhibit.

This complimentary flow is perhaps seen in the four pictures along the longest wall of the exhibition space, in which two of Matt’s landscapes bracket two of Jamee’s pieces that lie within her more “shadow photography” approach. The contrast of hard and soft lines, be it through finish or the use of the shadows inherent within the location where an image was taken and the tonal qualities of all four pieces, even with the differing approaches to post-processing offer all four as a continuous whole, the eye running easily across them as if they had sprung from the one artist’s eye and hand.

Engaging, bold, and with a personal touch through the inclusion of The Rings, a piece marking their recent union in Second Life, this is another excellent exhibition at Raging Graphix, and it will run through until the latter later of October.

SLurl Details

• Raging Graphix Gallery (Heatherwood, rated Moderate)

I made my second visit of the week to Chuck Clip’s Sinful Retreat region in order to see Mindscapes, an exhibition by JudiLynn India, and which can be found within the region’s Janus Art Gallery II.

JudiLynn is a remarkable abstract artist who has been active in Second Life since 2009. Having studied graphics design at the Tyler School of art, at the opening of the new century she decided to focus her creativity on acrylic and digital painting, particularly exploring the opportunities for textured painting in the former and the ability to play with light and colour with the latter. When combined, these two approaches give her art a genuinely tactile dimension which in turn breathes a fascinating sense of life into them.

The title of this exhibition appears to be drawn from the fact that much of JudiLynn’s work originates within her mind’s eye, rather than being inspired by external sources. These are bold, vivid pieces, clearly drawn from her love of colour, their finish retaining the layered, tactile look that is so intrinsic to her art.

It is my goal to make charitable creation my life’s work. My intent is to share my craft and use it to raise much needed support for organizations that improve the quality of life for people at home and abroad.

– JudiLynn India, describing her art and her approach to life

Fourteen pieces are offered – twelve as conventional canvases, two as totems standing within shallow alcoves in the gallery’s curved wall. While all the pieces naturally draw and hold the eye, their mix of bright tones and more organic colours quite captivating, I confess that I found Mindscape 2 Totem particularly attractive; the colours within it richly organic, its form – a rectangular block – primal, its entire form exceptionally Earthly – by which I mean it has an element of having been drawn from the very crust of the planet, and raised up to offer a story of the ages that progresses down through its colours.

but each of these pieces that make up Mindscapes has something to say to those looking upon it; there are subtle narrative running through each, be it due the the shapes that are suggested within each or the manner in which colours ebb and flow with one another or intertwine gracefully, or the suggestion of things half-seen produced by the mix of line, colour and textural layering.

Captivating, entrancing, emotive and offering a combined journey into the art and imagination of their creator, the pieces presented through Mindscapes are not to be missed.

SLurl Details

• The Janus Gallery II (Sinful Retreat, rated Adult)