Tag: Art 2021

Currently open at Imago Gallery, owned and curated by Mareea Farrasco is an ensemble exhibition entitled Landscapes and featuring the work of Blip Mumfuzz, Carelyna, Michiel Bechir and Tresore Prada. Together they present views of regions and places within Second Life that encourage a desire to visit them whilst also allowing us a glimpse at them through the artists’ eyes and narrative framing.

Within the gallery’s lower floor left side hall, Tresore Prada offers thirteen pieces that might be said to reveal places within Second Life, but also the passing of the seasons from winter to summer and mixing cooler shades that might suggest spring and autumn.

These are pieces that all immediately draw the eye and offer a story;  whose house is that beyond the snow-bound bridge? Does it belong to the artist, or to a friend they were on their way through the deep snow to visit? Has the cat lying on the sun-warmed wall simply found a place to rest whilst wandering, or does it call the little cottage across a summery river home? What are the promises to be found off the canvas of each of the trio of images depicting little boats on or near the water? The threads of possible stories exist within each piece, simply awaiting you imagination to thread them together.

Across the hall, Carelyna also presents a baker’s dozen of images, all of which have been processed and finished to offer a painted-like composition of the settings she has captured. Suggestive of a mix of oil and watercolour works, these offer some unique perspectives on popular SL destinations. Take Littlesquaw’s Midnight in Paris (which I wrote about back in November 2020) as an example; normally witnessed at night by visitors, Carelyna here offers a view across its rive Seine towards the Eiffel Tower rich in the colours and tints of an Autumn day. On the opposite wall, her take of Takoma presents a impressionist style take on the subject that brings to mind the likes of Turner’s The Fighting Temeraire.

The upper floor of the gallery is split between an open mezzanine area and a second hall running across the back of the gallery. The mezzanine is home to the display by Michiel Bechir, who offers a selection of eight images that stand not only as landscape pieces but also studies of the architecture of Second Life, with two focused as they are on a large manor house seen under different conditions with two more  presenting views of settings redolent of older parts of US cities like New York. Offered as both colour and monochrome images, this selection allows us to see the diversity of Michiel’s approach to, and presentation of, his SL photography.

In the rear hall, Blip Mumfuzz presents a series of images in her own inimitable style. Far removed from what might be called “conventional”, they border on the abstract; rich in colour, their form taken by the rise of grasses against the sky, against a backdrop of open water or curtain of tress. Frequently flecked by out-of-focus elements dotting the air above them, these are pieces that are very much reflective of the moment in which they were captured – the soft-focus elements suggestive of seeds caught on the breeze, carrying with the the promise of new life; the colours reflecting the fact that these are not images of places just seen, but places both seen and re-imagined by the mind’s eye in the same instant.

Blip’s exhibition is also semi-immersive: climb the steps and  walk the photo-mural of the stream;  imagine the coolness of the water about your feet and look out into the scenes on either side and both in front of you and behind you, and let your mind wander free…

Four very individual and very captivating exhibitions well work dropping in to see.

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• Imago Gallery (Broken Mountain, rated Moderate)

The Linden Homes in Bellisseria lend themselves to many uses beyond that of home; people have turned them into clubhouses, pubs, cafés group meeting points, museums and galleries. In the latter regard they can be particularly attractive, in that their limited internal space means that they are ideal for what I’ve started calling “pocket exhibitions” – small exhibitions of art that are easy to visit and take in within a cosy environment and which don’t overwhelm visitors in terms of the size or number of pieces on display.

One of the people who has especially leveraged her Linden Home as a gallery space is the incredibly talented and giving Owl Dragonash. Having turned her home into the Hoot Suite Gallery, she uses it to invite artists from across Second Life to exhibit within in for a period of around a month, and February 2021 see her hosting The Many Shades of Blues, a pocket-sized exhibition by anther of Second Life’s talents: musician and artist Blues Rocker.

Perhaps regarding himself first and foremost a Second Life Landscape artist, Blues is far more; as this exhibition ably demonstrates. Carefully brought together under the exhibition’s title is a selection of pieces that richly presents the full spectrum of Blues’ artistry, with individual pieces carrying the subliminal theme contained within the exhibition’s title: shades (or tints in some cases) of blue.

Found across the two floors of the gallery are avatar studies, photo portraits of physical world musicians, reflections on Second Life’s rich diversity of art that includes images of pieces by Mistero Hifeng and a marvellous portrait of Bryn Oh that, as well as combining the themes of portraiture and art in SL, capture the essence of Bryn’s creative spirit as expressed through her avatar. In addition, some of the pieces contain layered artistic references and / or pay homage to art as a whole.

The latter is perfectly demonstrated in The Bridge of Sighs, located on the gallery’s ground floor. Its title evokes thoughts of the bitter romance of the Ponte dei Sospiri bridge in Venice, whilst also evoking thoughts of he songs by Ralph McTell and Robin Trower, thus reflecting Blues’ own status as a musician. At the same time, with its rendering of the Golden Gate Bridge presented in an impressionist style, it both demonstrates Blues’ love of painting and adds an expression of the beauty to be found in man-made works, calling to mind as it does the many photos of that bridge caught within the white blanket of low-lying cloud or peeking through San Francisco’s famed fog.

A further demonstration to Blues’ passion for art can be found in Acoma Pueblo, New Mexico. An evocative piece, it carries within it a wonderful homage to the artistry of van Gogh, whilst across the room from it Once in a Blue Moon again combines romance and song within a photograph that captures the magnificent natural desolation of our natural satellite and on the floor lies a rug by Blues that encapsulates abstractionism in its expression.

Small it size but overflowing in expression The Many Shades of Blues will, I believe remain open through the rest of February 2021, and definitely should not be missed.

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• Hoot Suite Gallery (Ruthsburg, rated Moderate)

Giovanna Cerise is an artist whom I’ve admired for years. Her work, which spans both the virtual and the physical, is exceptional, whether seen as an individual piece, or as a complete installation.

As I recently reported, she has recently returned to artistic expression through Second Life after a hiatus of several years, opening a studio gallery at Campbell Coast – and I’m particularly honoured and delighted to announce that Giovanna is the first artist to appear at the Phoenix Artists Collaboration as a Featured Artist.

Officially opening on Saturday, February 6th, 2021 at PAC, is a special display of art Giovanna has put together, entitled Traces. It marks her first formal exhibition since her return to Second Life – although it will obviously not be her last. It  presents a mix of her work, past and present;  however, I’ll let Giovanna describe Traces in her own words:

The exhibition traces some of the stages of the artist’s production.

The proposed works were made with various techniques and testify to the evolution of his artistic career. On the ground floor there are some works made only with prim, dating back to 2010-2011 and three unpublished works: two sculptures and an installation created for this occasion.

On the upper floor, one side of the gallery is dedicated to some works made in second life, but which were then exhibited some physically others with videos in the real world. The exhibition itinerary is completed with the proposal of some more recent works which were included in installations and which cannot be reproduced here.

– Giovanna Cerise, February 2021

Spread across the two floors of the gallery, commencing with the captivating Senza Titolo (“Without Title”),  this is an exhibition that is not just to be seen, but experienced, the pieces positioned through the gallery’s spaces in such a manner as to present the feeling the visitor is moving through them as much as the gallery itself; text elements on the floor before some of them adding to this sensation.

On the upper floor of the gallery is the opportunity to witness how Giovanna’s work has been celebrated in the physical world, where she has worked alongside other Second life and Physical world arts alumni such as Patrick Moya (Moya Janus in SL).

As well as the text elements on the gallery floor spaces, pieces may also be accompanied by information givers so that visitors can learn more about them, whilst several of the individual pieces are available to purchase for those who wish to add them to their collection.

The official opening of Traces will be marked at 13:00 SLT on Saturday, February 6th, with music by our friend and colleague, Joaquin Gustav from 13:15 SLT, at the event space immediately in front of the main gallery.  please do be sure to join us.

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• PAC Featured Artist Gallery (Cherished Melody, rated Moderate)

Currently available the Monocle Man Gallery, curated by Kit Boyd and Lynx Luga, is an outstanding exhibition by Hiliare Beaumont. Untitled, it presents a series of self-portrait avatar studies that are – despite the fact I often use this phrase with regards to art exhibitions in Second Life – genuinely rich in their depth of narrative and content.

These are piece that bring together a range of inspirations – literature, film, music, elements of fantasy, historical drama to present pieces that are evocative, layered and often highly emotive. Through their presentation, these are pieces that illustrate the fact that Hilaire was initially drawn to Second Life as a place of role-play, and has since grown towards photography as a means of expression and emotional release.

The role-play aspect can perhaps be seen in the likes of Le Fantome de l ‘Opera, Clown and Lullaby of Woe, together with Old Man, Diggin’ My Grave and The Wild Horde. These last three, intentionally or otherwise, sit together almost as three parts of an evolving story whilst also each standing in their own right; there is within each of them a wonderful sense of the classic western of the Ford or Leone eras.

Both Le Fantome and Clown have very defined origins, but bring with them a real sense of emotion about them that might not be quite in keeping with our usual thinking about the characters they represent: introspection in one, and a suggestion of unemotional, calculated logic with the other. However, of these particular images, Lullaby of Woe is the piece that most acutely caught my attention in the way the story it suggests seemed to flow between various characters, from Sherlock Holmes through to Dr. Jekyll and back, complete with hints of both James Moriarty and Mr. Hyde.

Other pieces may not directly draw thoughts toward fictional pieces or film, but their emotional content is just as incredibly captivating. Aux Sombres Heros de L’amer (taking its title from the song by French rock group Noir Désir?)  and Je ‘t en remets au vent, for example, are powerfully evocative of a broader story (as well as having a marvellous sense of the 19th century about them).

Alongside of these sit Sympathy and Mother, two pieces that are simply packed with expression and emotion, particularly for anyone who has recently lost a family member. Both are also a tour de force in framing, depth of field, image depth, and camera angle; each genuinely standing as a life study you do not so much view as step into.

The simple truth is that each and every one of these images has something to say, so much so that a book could easily be written about this exhibition. But equally, the fact that they do is more than adequate reason for going along to the gallery and view them for yourself; they demonstrate the truth of what can oft seem a tired adage: a picture is worth a thousand words. All of the pieces are offered for sale at an incredibly modest price, and I understand that all proceeds are going to support the gallery directly.

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• Monocle Man Gallery (Monocle Man, rated Adult)

Now open through most of February at the Kultivate Signature Gallery is an exhibition of Second Life landscape photography by Anouk Lefavre.

There is something intensely fascinating about Anouk’s images. Gently post-processed, they have the look and feel of having been painted. The colours are perhaps a little heavier than watercolours, but are lighter than oils, so presenting her work as sitting between the two in a balance that is in itself captivating.

More than this, however, the the colours Anouk looks for in her images, together with her framing, means that her pieces are more than images of the places she has records, they are statements of the natural beauty of those places that draws you in. To quote SL photographer Brysen Miller when discussing Anouk’s work:

Truly thought provoking artwork, deep in rich colour tones [and] amazing capture that really make you feel as though you are there. Absolutely brilliant.

All of this is demonstrated in full in the twenty images offered at the Signature Gallery. Nineteen of them are landscape images, with the 20th touching on Anouk’s other focus for photography: avatar studies. All are pieces guaranteed to hold the attention and, with the help of their titles, offer individual narratives that provoke the imagination.

However, I admit that of all the images presented, I found myself particularly drawn to the two central images, located on the second and upper floors of the gallery.Neatly split into three panels, they offer a form of latter-day triptych, the breaks between the panels offering an almost chapter-like view of each when viewed left-to-right, whilst equally presenting the complete picture / story when viewed as a whole, the divides between their panels barely interrupting the views they offer.

Which is not to say I in any way dismiss the other pieces; far from it – as noted above, all of them have a marvellous visual appeal.  It’s just that the triptych pieces would make for an ideal centrepiece in a home with a suitable fireplace and wall above it, while I am particularly drawn to the tighter focus and presentation of Behind Screen Memories.

But whether drawn to Anouk’s work because of her use of colour, or for the way she balances land and water in creating a scene or for the way she breathes natural life into an image, this is a selection of pieces that will both please the eye and gladden the mind with thoughts of warmer happier days to come.

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• Kultivate Signature Gallery (Water Haven, rated Moderate)