Cica Ghost is back with a wintertime setting to see out 2024 with Snowflakes, and in doing so, offers us a little insight into the fact that even snow monsters appreciate a little warmth on cold winter nights when the stars shine brightly.
In a darkened world where hills rise like comical bumps a cartoon character might suffer after taking a bop to the head, birch tress point boughs bereft of leaves towards the nigh sky, as if trying to to pull down the blanket of stars to wrap around themselves and stave off the cold. All around, snowflakes drift towards the ground to join their siblings already there.
Cica Ghost: Snowflakes, November 2024
Night-time can be one of the most magical times to witness gently falling snow when the wind is calm and the air is fresh; there can be a wonderful sense of mystery, particularly when walking through wooded land – and believe me, as one who has partaken of late evening walks through the park adjoining my home, walking under naked tress and over the bridges panning the local stream, I speak from experience!
But here, among these trees, are other wonders to be found. This is because, with the Sun long set and darkness all around, the local snow monsters have come out. Although in fairness, “monster” here is more due to a matter of their scale rather than any wicked intent on their part. Indeed, and as noted all they are seeking a little of the forementioned warmth – both the kind born of a warm fire and the kind from friendly companionship – or having a little fun building a snowman.
Cica Ghost: Snowflakes, November 2024
These chaps clearly mean no harm (although beware the falling snowballs near some of them!); one even looks a little looks a little unhappy and lonely on the cold night, possibly because there’s a nice little house close by (one of a number sharing the landscape) which could well be a lot warmer inside than it is outside – but he’s a little too big to get through the front door!
For those who like a little fun, there are Cica’s dances to be found and a pair of “snow rollers” to ride around on. The setting is accompanied from a quote from Lorelei Gilmore from the 8th episode of the first season of The Gilmore Girls, A show I’d never heard of until reading the quote – and subsequently finding the episode – love and War and Snow – is one of the most highly regarded of the show’s entire run. However, it expresses the mood of Cica’s Snowflakes perfectly:
Currently open at Artsville Galleries and community Hub, the arts hub managed by Frank Atisso with the support of Jerzzie Reece-Redstar (jerzzie Reece), are two entirely independent exhibitions by two very different artists which carry enough of a slender thread between them that I’m going to cover both here as they spoke to me, and I hope both artists will forgive me for combining them in this manner.
On the ground level at Artsville, and within Gallery 1 there is Manipulators, a collection of black and white photographic images by Christian Carter (XJustFriendX) which opened on November 15th, 2024. Christian presages the exhibition within his SL Profile with the comment I wanted to show in these photos things that worry me a lot lately… And having viewed the exhibition, I can say he’s not alone in the line of thinking and reflection taken within the exhibition, which is more fully described within the gallery with a quote attributed to the Nobel prize-winning Swedish biochemist, Arne Wilhelm Kaurin Tiselius (August 1902 – October 1971):
We live in a world where unfortunately the distinction between true and false appears to become increasingly blurred by manipulation of facts, by exploitation of uncritical minds, and by the pollution of the language.
Artsville Galleries and community Hub: Christian Carter (XJustFriendX) – Manipulators
David I. Haberman cites the quote as coming from Tiselius whilst speaking at the 1970 Nobel Prize Ceremony (Tiselius received his Nobel prize in 1948, but was Chairman of the Board for the Nobel Foundation from 1964 through 1968, and thereafter remained involved with the Foundation through to close to his death). As such, and given today’s global political climate, it is a highly apt and relevant statement.
Within Manipulators, Christian explores the reality of the reality contained within Tiselius’ words through images highlighting the manner in which language, reality, truth and facts have become so easily manipulated, most notably through the growing reliance on the likes of the soundbite, social media and belief in media channels which see revenue as more important that the transmission of facts. Social / mass media in particular have a lot to answer for: from allowing the rise of polluted language (“alternative facts”; “fake news”) to become accepted means to deny critical thinking and allow the easy acceptance of lies and deceit, through to the elevation of charlatans, egotists, billionaires and those who would consider themselves the super-elite, aloft from the laws and requirements which bind the rest of us, as the new saviours.
Artsville Galleries and community Hub: Christian Carter (XJustFriendX) – Manipulators
The images themselves speak clearly to all of this, and while it might be subjective on my part, I would perhaps suggest viewing them in order from the right as you enter the exhibition hall; not because there is a specific order or narrative flow to them, but simply because following them in this way will bring around the images in turn to finish as Christian’s core message to all of us: we are each the heroes needed to make the world a better place.
Heroes are also the subject of the second exhibition I’m covering here, that of Bleu’s (Bleu Oleander) Tomb of the Unnamed Hero. This can be reach from the ground level of Artsville via the teleport boards.
This is an installation which is best seen using the Shared Environment and with media enabled if not set to Autoplay (click the movie camera icon, top right of the viewer menu, next to the volume control icon – not the local media stream button).
Artsville Galleries and community Hub: Bleu’s (Bleu Oleander) Tomb of the Unnamed Hero
Perhaps the best way to describe the installation is to use Bleu’s words:
This tomb/temple project is dedicated to all those who have gone before us, is a place for reflection, reflection on who we are and the lives of those that paved the way for us. A reflection on the ultimate meaning of our own lives. Each contribution worthy of remembrance. We now also understand ourselves not only as expressions of those that have come before us, but as ecologies of our microbiomes … we exist in symbiosis. Our genomes and microbiomes are a record of life that came before us and helped make us who we are.
This project is a virtual three dimensional interpretation of these ideas.
In passing through and climbed Bleu’s installation – or by imply sitting within it – we are given the opportunity to reflect on some basic truths. That while there are many remembered for their impact on history, good and bad and have been immortalised in book, verse, song, story, film and television; in reality we can all be heroes in our own way, simply for being who we are, and in how we help and positively impact all those with whom we interact; within each of us reside the power to affect change and growth, to bring forth good and share it with others.
Artsville Galleries and community Hub: Bleu’s (Bleu Oleander) Tomb of the Unnamed Hero
Thus, Bleu reminds us that even when times seem at their darkness, we can draw strength, compassion and understanding from those who came before us, and both share it with those around us and dedicate it and our own to those who follow us.
My exhibition at Maison de la Chouette, November / December 2024
Yes, a little self-promotion, I’m afraid, wrapped in the guise of two exhibitions in which I’m featured as both the solo exhibitor and as a part of an ensemble exhibition in which I’m delighted to play a small part, sitting amidst some extremely talented artists and photographers.
The solo exhibition is taking place at Maison de la Chouette, curated and operated by the lovely Owl Dragonash, who asked if I would put on a 2-month display there starting with a soft opening early in November. Whilst already available to view, the exhibition will have a more formal opening on November 13th, 2024 at 12:00 noon SLT – which I very much hope those of you who can, will attend.
My exhibition at Maison de la Chouette, November / December 2024
A further gallery nestled within the Corsica South Coasters area, joining with the likes of NovaOwl and the galleries at Port Emyniad (and locations in between), Maison de la Chouette is a boutique-style gallery utilising a Tuscan style house, allowing art to be displayed on two floors. This makes for cosy little exhibitions, which is probably for the best where my work is concerned.
And that’s not false modesty kicking-in; I genuinely don’t see my SL photography as “artistic” or “art”; rather it is primarily intended to be illustrative, and a means of breaking some of the meandering jumbles of thought which appear in this blog. As such, I’m sincerely flattered (and genuinely surprised) when I an asked to display them in-world in either a dedicated exhibition or as part of a larger exhibit.
Cloud Galleries Winter Art Market, 2024
And a larger exhibit is what you’ll find at the Cloud Galleries Winter Art Market, again curated by Owl. Whilst this has its official opening party on November 19th, 2024 at 12:00 noon SLT, it has already enjoyed a soft opening as it brings together multiple artists from across SL, all of whom are displaying 2 pieces each on a winter / seasonal theme. Those participating include:
Alex Riverstone, AmandaT Tamatzui, BijouxBarr, Carelyna, Ceakay Ballyhoo, Dido Haas, Sina Hastings (Fasina Firehawk, Frank Atisso, Giselle Seeker, Hermes Kondor, Jaminda Galênê Moon (Jaminda Lygon), Jerzzie Reece-Redstar (jerzzie Reece), Jilla Lamar, JueL Resistance, Lizbeth Morningstar, Maggie Runo, Tom Willis (MajorTom Willis), Marnie Morningstar (Marnie Ansar), Owl Dragonash, Pagan Lane, Pieni, Rosie Riverstone (YsabellaRose), TaccaExotic, Tess (Therese Carfagno), Uli Jansma, Wren Parker (Wren Carling), Christian Carter (XJustFriendX), Zia Branner and Yours Truly.
Cloud Galleries Winter Art Market, 2024 – Rosie Riverstone (YsabellaRose) and Maggie Runo
With such a diverse mix of artists and photographers, the Winter Art Market offers an engaging mix of images captured in-world together with original art and photography taken in the physical world and uploaded to Second Life. The setting is suitably wintery, being a snowbound outdoor venue adjoining the Cloud Galleries in Novatron. Also, as might be expected by the title, the art on display is offered for sale by the participating artists and photographers.
So, that’s potentially two exhibitions to visit, both within easy reach of one another (bot that anything in Second Life is ever *that* far out of reach!). I certainly hope you’ll support those participating at the Winter Art Market, and if you can make it to my little exhibition and shindig – then thank you! My thanks to Owl in particular for inviting me – and to the DJ LiTo Team for providing the music for both openings!
Cloud Galleries Winter Art Market, 2024 – Jilla Lamar and JueL Resistance
Monocle Man Gallery: Willow (Cutewillow Carlberg) – Fall Splendour
As yet another year starts drawing to a close, heralded in the northern hemisphere by autumn’s fade into winter and a time when thoughts inevitably turn to snow-covered landscapes, frosted streets, heavy coats and foggy breath, I decided to spend a little time drinking in the autumnal – or fall, if you must – beauty brought forth by nature by visiting two similarly-themed art presentations currently in progress.
The first is that of Willow (Cutewillow Carlberg), entitled Fall Splendour, which opened at the Monocle Man Gallery on November 10th. I’ve encountered Willow’s art at various ensemble exhibitions over the years, but this is the first time I’ve seen her landscapes offered as an individual exhibition.
Monocle Man Gallery: Willow (Cutewillow Carlberg) – Fall Splendour
Spread across the two floors of the gallery’s main hall, as well as in the foyer and side room, these are pieces captured from within Second Life to provide images of autumn’s many faces, from golden-hues fields and tries crowned with leaves turning to reds, browns, oranges and yellows, to overcast days when drizzling rain catches us unaware; or in which sunlight plays through rolling cloud caught on the wind to fall as fingers of light to touch castle and tower, and bursts of shadow dim the land, causing it to brood moodily until sunlight returns.
In places seemingly untouched by post-processing, save for cropping and framing, whilst in others looking as if the lightest touch from tools external to Second Life has been felt, Fall Splendour is an engaging series of images perfectly encapsulating the many shades of autumn’s passing.
BOSL’s Waterfront Café Art Gallery: Reign Congrejo Capalini (Reign Congrejo) – Falling into Love
At BOSL’s Waterfront Café Art Gallery, meanwhile, is a smaller but equally engaging exhibition by Reign Congrejo Capalini (Reign Congrejo). Entitled Falling intoLove, and with each of the eight pieces appended With Fall, this is a simply exquisite series of images which appear to be from both Second Life and the physical world which also capture some of the many faces of autumn in all of its rich, vibrant colour – and most particularly with the sense of romance the season can so easily present.
From woodland walks where sunlight slants through tall fingers of trees to dapple the path ahead, to the shimmering beauty of water and trees caught in the light reflected by the mirror of a full Moon to drape itself gently over the landscape, these are images celebrating that many faces and emotions autumn offers. Within them, we might also find reflections of the simple pleasure of sitting under a rustic canopy of leaf and bough as wind and sunlight play across the waters of a still lake, or memories of the promise of warmth and comfort as we walk home under darkening evening skies as light pours forth from windows warmly lit from within and doorways illuminated by lamps as we pass.
BOSL’s Waterfront Café Art Gallery: Reign Congrejo Capalini (Reign Congrejo) – Falling into Love
Taken together, these are to visually expressive exhibitions presented through very different lenses and eyes, but which are unified by both their beauty and the love of the season felt by both of the artists. With both (I believe) due to run through until early / mid December, their natures allow them to be viewed individually or jointly, depending on your preference.
As I’ve said a number of times in this blog, I’ve been an admirer of Monique Beebe’s work ever since her first exhibition in Second Life in 2017, and have since covered many of her exhibitions in-world. Over the years Moni has shown herself to be expressively rich through her art, and a growing experimentalist when it comes to medium and form. Her work generally carries a sense of narrative and is often subtle in subtext, as well as often containing a highly sensual nature. Individual exhibitions often thematically driven, and she has worked both entirely with images captured in-world which have then been carefully digitally enhanced and processed, whilst more recently has been experimenting with the use of AI driven tools as an adjunct to her art.
With regards to the latter, in October 2023 at the Kondor Art Centre, operated and curated by Hermes Kondor, Moni presented a fascinating series of AI images combined with video editing to provide On the Move, 14 captivating images-in-motion (see: Artistic digital fusions in motion in Second Life). For November 2024, she is once again back at the Kondor Art Centre with a further exhibit utilising this combined AI / video loop approach in an exhibition she has called Oblivion.
Kondor Art Centre: Monique Beebe – Oblivion
Comprising some 20 2D pieces on the gallery’s walls, supported by a series of free-standing and mobile pieces, Oblivion comes without liner notes from the artist, leaving the visitor free to interpret the images without any potential bias towards meaning. Further, whilst the techniques used are much the same as those witnessed in On the Move (for those who recall that exhibition), this is not what I’d call a “sequel” to that exhibition per se; rather I’d suggest that Oblivion is an expansion of the idea of generative art in motion as presented through On the Move, but one in which there is perhaps no singular theme but rather an interweaving of idea sand reflections.
On first inspection, the images might trick you into believing they are static in nature. However, when you enable media playback in your viewer (if not already enabled or autoplay is not set) by clicking the “motion picture” camera icon in the top right of the viewer window as it sit between the volume control button and the audio streaming button, and then click any one of the images, then it will come to life in a looping playback.
Kondor Art Centre: Monique Beebe – Oblivion
As noted, the themes / ideas expressed in the pieces do vary. Some appear to offer fairly direct commentary on the human condition (Sheep, Maze,Time, for example) others might appear to be more abstracted whilst still having reflections on life and / or times (Mind Fuck,Trip through Years, Big Mouth, for example). Yet others touch on science-fiction/fantasy laced (perhaps) with quiet whispers on our stewardship of the planet; one in particular (Dutch Tulips) seems to offer an link back to On the Move in terms of its presentation and motion.
However, those are just my thoughts on the pieces, and as such, they are entirely subjective and swayed by my personal outlook; how you might view them might be worlds away, the lack of liner notes from Moni leaving us entirely free to view and interpret, as noted. This also extends to the free-standing pieces occupying the floors of the gallery; clues to their intent might be found in their titles, but how we respond to them and regard them is down to each of us.
Kondor Art Centre: Monique Beebe – Oblivion
All of which makes for a richly engaging – and at times almost mesmerising – selection of art, one that offers a considered further exploration as to how rich and unique art produced with the assistance of AI tools (as opposed to solely through the use of such tools) can actually be. As such Oblivion is well worth the time taken in visiting it. Oh – and if you find you end up with multiple pieces playing, with some distracting your focus, just toggle the media playback button off/on.
Nitroglobus Roof Gallery Annex: Traci Ultsch – CTL ALT Delete
Four years ago to the month, Dido Haas invited me to visit a new exhibition at her Nitroglobus Roof Gallery. Entitled Camouflage, it was a double first for the gallery: the first time art produced outside of Second Life had been displayed at the gallery, and it was the first Second Life exhibition by an artist known in-world as Traci Ultsch.
It was an exhibition which immediately captivated me, as I noted in Camouflage and questions in Second Life. The style of the art was visually engaging to the point of exhibiting a sense of being tactile, whilst the questions within them served to encourage us to both peel away the layers present within the images to bring forth thoughts on both the artist’s own introspections and on the relationship between our virtual and physical identities.
Nitroglobus Roof Gallery Annex: Traci Ultsch – CTL ALT Delete
Since that time, Traci has exhibited her work across Second Life, and I’ve frequently covered her work in these pages. I’ve continued to be fascinated by her work, both in the manner in which it has evolved, and for the depth of expression and interpretation it contains. Her art has always been deeply personal, reflecting thoughts on life, the impermanent nature of all things, and the importance of capturing of moments in time.
Traci is now back at Nitroglobus for November / December 2024, where she is exhibiting what might be her last exhibition of art in SL, CTL ALT Delete, within the gallery’s Annex. And one again it combines many of the elements noted above as it explores matters of inspiration, procrastination, fragmentation of thinking, the desire to create – and the confluence of these opposing streams which leads to the creative drive to stall, turning it from what should itself flow through a process to become a struggle to move from half-formed, shadows of ideas to what might be called a finished piece without simply cancelling it (hence CTL ALT Delete).
Nitroglobus Roof Gallery Annex: Traci Ultsch – CTL ALT Delete
Framing the exhibit, Traci uses a quote by Philip Larkin, variously called England’s most miserable genius, the voice of post-war England (and more besides!):
I dreamt of a beach, of the sun in my eyes and your hands in mine. Instead I still just see these dark fucking trees.
It’s an ideal quote in terms of CTL ALT Delete, in that it both reflects the blocks that come between desire – be it in wishing for visions of love and warmth or in the desire to create – only to become mired in darker moods / feelings; and in the way we use trees to express our inability to see something clearly because the details get in the way: I can’t see the woods for the trees – which can so often be the case when it comes to creativity, be it in art, writing, music, or whatever.
Nitroglobus Roof Gallery Annex: Traci Ultsch – CTL ALT Delete
Trees also feature in the first elements of CTL ALT Delete, which offered an enumerated passage through its images, starting to the immediate right of the entrance tunnel connecting the Annex with the main gallery when you arrive at the landing point in The Annex. Their use, against an overcast / foggy sky serve to lead us into the ideas contained within the images, expressed through fragments of thought given as text; fragments which demonstrate how the creative process can be interrupted and distracted. These continue through the rest of the series, becoming less and less coherent as the images themselves also become less and less coherent, underscoring, as Traci notes, the essential role of both within the exhibition:
The absence of a defined subject becomes the subject itself … The images and text invite viewers to witness the act of this failing creative endeavour as a dialogue between presence and absence, construction and deconstruction … In embracing this state, the works magnify the struggle to make something out of nothing.
– Traci Ultsch
A fascinating exhibition, one I hope will not be Traci’s last in Second Life, even if there is a pause between this and the next.
Inara Pey: Living in a Modemworld 