Tag: Art 2024

Open through most of June 2024 at the Kondor Art Club, a part of Hermes Kondor’s Kondor Art Centre, is a solo exhibition by JudiLynn India which again demonstrates her extraordinary acrylic art, here given a digital edge through the considered use of post-processing via Procreate, a raster graphics editor developed for devices using Apple’s iOS and iPadOS.

JudiLynn has expressed a love of art and artistic expression for most of her life, studying the subject at both school and university, whilst also learning to play the piano, guitar and violin. Her art has always been a personal journey, one encompassing her outlook on life, her spirituality and her personality – which might be describes as vibrant, passionate and fuelled by a desire to create and explore. This latter aspect of her creativity has, over the last two decades, encouraged her to combining her love of acrylic painting with a growing appreciation of the potential presented by digital painting software and techniques.

All of this is fully displayed within Messages at the Kondor Art Club.

Occupying the full gallery space, this collection of some 40 digitally-enhanced, acrylic originals carries within it a familiar sense of the abstract and the natural – aspects of Judi’s work I have always enjoyed.

Each of the compositions offered is described as a spiritual adventure for the artist; something perhaps most clearly seen in the pieces carrying one or more circles within them – a motif, perhaps of the spirit’s enduring nature, and symbolising unending cycles – the embodiment of the alpha and the omega, if you will.

The use of the the circle is not the only symbol or motif to be found within these pieces; many include representations of writing. That the words /letters / symbols might be indecipherable makes no difference, their inclusion not only reflects the title of the the collection, they serve as a reminder that starting with art – in the form of simple paintings – and progressing to use of symbols, hieroglyphs and eventually the written word, we are a race of creatives (and in “written” I would also include the use of music, through its notations and interpretation, as both a means to communicate and to express ourselves), and also archivists; recording what we see, learn, love and cherish for both our out pleasure / knowledge and for those who will inevitably follow us.

In this Messages might be said to be an essay in art, a celebration of life, of humanity, nature and all that makes us individually and collectively unique. And like is, each of the compositions within this collection work collectively, each one adding its own lines to the exhibition’s narrative; yet at the same time each is unique and within its own voice, capable of standing on its own, ready to be appreciated just as richly on that basis as for any connection to the rest of the collection.

SLurl Details

• Kondor Art Club, Kondor Art Centre (Royal Tea, rated Adult)

Cayla (YumiYukimura) invited me to visit her latest exhibition at Saint Elizabeth’s Studio and Gallery in Second Life, which opened on Monday, June 3rd, 2024. Entitled Monochrome Memories, and with the sub-title of Shades of Adolescence, its an exhibition that is somewhat personal for Cayla and which has – being frank – drawn mixed feelings from me on viewing it.

The personal aspect of the exhibition comes from the fact it is rooted in a physical work project Cayla undertook, as noted in the her introduction to the exhibition:

When I was a young teacher and photographer, I was invited to participate in a group exhibition at a prestigious local art gallery. I had to develop, process, mat, and frame the photographs in my own, one person, professional darkroom. During my free prep periods, at school, I would select a student, take them outside, and have them self pose against a wall of the school building dressed in their everyday attire. This was during the 1970s and 1980s. 

Unfortunately, all of my original photographs were destroyed in a flood, including the negatives. The AI-generated pictures presented here evoke memories of those I captured during that time. Just like the originals, these AI pictures are in black-and-white.

Cayla (YumiYukimura) on Monochrome Memories

Cayla also note that during that original exhibition, several of the artists commented on how her images reminded them of the black-and-white photography of Indiana-born and Arkansas-based photographer Mike Disfarmer (1884-1959). He spent a good portion of his adult life living and working in a small photography studio where he would create and sell images of the local townsfolk and those from the surrounding area. As a working photographer, selling set of three photographs at 50 cents, Disfarmer never really garnered much attention during his life – and this might have remained true following his death, but for the 1970 discovery of a cache of his original glass negatives still located with the premises of his former studio.

Carefully catalogued, restored and preserved, these negatives formed the basis for two exhibitions of Disfarmer’s photography – and catapulted him into the realm of well-regarded and celebrated Outsider Artists, his ability to portray the lives of everyday folk in a starkly realistic manner which has come to symbolise life in the mid-west of the United States in the middle of the 20th century.

Within Monochrome Memories, Cayla presents a collection of AI generated pieces which seek to both re-capture the core theme of her original physical world exhibition in that the subjects are (as per the exhibition’s sub-title) predominantly young / adolescent subjects pictured against a wall, whilst mixing-in a touch of Disfarmer in that that all carry either a neutral or (in some cases) slightly dour expression. In this way – and again like Disfarmer – they might be said to offer a stark, unblemished view of people joined not by art, but by the environment in which they live; thus offering a collective snapshot in time.

There is much that is attractive about this collection in its own right, as well as in the manner in which it seeks to offer an echo of a former display and present a reinterpretation of Disfarmer’s approach to photography. For example, I particularly liked the subtle use of self-portraiture (in terms of Cayla’s Profile image avatar) within the collection, and the little touches of humour (the bearded “JC” standing against a wall and reading a Bible-like tome and with a church steeple visible behind him, for example).

That said, I will admit that the very fact these are AI images at their heart gave me issues; I have an admitted ambivalence towards such art for many reasons – including the way in which I feel it can all too easily detract from an artist’s intent more than add to it. Here, for example, it was just a handful of images that kept demanding my attention; not because of the artistry or narrative evident in them, but because they looked to me as if the AI tool had simply lifted from photographs of Tilda Swinton, Bob Dylan and James Dean, Phil Lynott and others. Whilst not Cayla’s fault, this reaction lifted me away from an appreciation of her work and into the realm of pondering the merits of AI tools – and for that, I apologise to her.

Nevertheless, I do see this as an exhibition worthy of viewing, and thus commend it to you.

SLurl Details

• Saint Elizabeth’s Studio and Gallery (Dark Dreamer, rated Adult)

The Power of Hope is the title of the May / June exhibition within the ground-level gallery space at the NovaOwl Gallery, operated by Uli Jansma and Owl Dragonash. It features images by Christian Carter (and marks for me, I believe, the first time I’ve encountered his work in a solo exhibition)which are linked by a core theme, as symbolised by a vibrantly coloured butterfly.

[In] this exhibition I wanted to be uplifting. We all need more positive things, more smiles, more light.
Here I am telling a story about a butterfly that symbolizes a Hope and travels around the World. Travel with me…

Once you choose hope anything is possible.

– Christian Carter, The Power of Hope

What follows, across the two halves of the gallery space is a journey of images, some of them framed by quotes or aphorisms emphasising the power of hope, even in the more desolate or downtrodden aspects of life. The art is loosely grouped within the galley’s halls in terms of style and presentation: within the larger, airer hall are very large format pieces leaning strongly towards a black-and-white / monochrome finish, with the sub-divided space of the smaller hall presenting pieces sized to suit its wall space and within which the use of colour is much more prominent.

It’s a highly effective approach; with their focus perhaps more on the realities of day-to-day life as well as touching on the more metaphysical aspects of hope, the monochrome images give a clear symbol of the latter through the focused presence of colour or the considered use of reflections on glass to suggest brightness (and therefore hope), whilst their broader monochrome composition offers commentary on the realities of the present.

It is within this section that the exhibition has perhaps its most poignant pieces in the form of There is Always the Light and Despite all of the Darkness, both of which particularly speak to some of the malaise affecting modern society (waste and destruction / homelessness and our too-often indifference to it) – and the expression of hope that one day we will all overcome these issues and attitudes for the betterment of ourselves and others.

Within the smaller gallery space, the images are perhaps more metaphorical in nature, reflecting the aphorisms (some of which might be seen as truisms, but which are nevertheless lifted above the trite through Christian’s excellent artwork and use of colour). These are perhaps more uplifting images in terms of the richness of colour within them, although the underpinning truths they contain speak as clearly as those framing the monochrome pieces. In addition, further touches of social commentary might be seen in both some of the expressions written on the gallery walls and in the little 3D elements Christian has put together is support of his images (such as the little homeless bear in one corner).

Visually engaging and with a positive message for the future built on reflections on life, The Power of Hope will remain at NovaOwl through May and into June.

SLurl Details

• NovaOwl Landing Point (Novatron, rated General)

Raglan Shire, Second Life’s Tiny community, is once again opening its doors to people from across the grid, as participating artists and visitors are invited to the Raglan Shire Artwalk 2024.

This year, the the event runs from Sunday, May 19th, through until Sunday, June 16th, 2024, inclusive. It  offers an opportunity not just to appreciate a huge range of art from both the physical and digital worlds, but to also tour the Shire regions and enjoy the hospitality of the Raglan Shire community – one of the friendliest and fun-seeking groups in Second Life.

A non-juried exhibition, the Artwalk is open to any artist wishing to enter, and has minimal restrictions on the type of art displayed (one of the most important being all art is in keeping with the Shire’s maturity rating). All of this means that it offers one of the richest mixes of art displayed within a single location in Second Life, with 2D art is displayed along the hedgerows of the Shire’s pathways and tree platforms overhead and 3D art among the community’s parks.

Over 120 artists are participating in 2024, many for the first time. As such, the  depth and range of art on display is guaranteed to keep visitors exploring the paths and walks around and through the hedgerows – and if walking proves a little much, there are always the Shire’s tours to ease the load on the feet, together with the teleport boards to help move visitors swiftly around and through the different display areas. But that said, I do recommend exercising your pedal extremities and doing at least some of your exploration on foot – just keep in mind people do have their homes in the regions as well.

Given the number of artists involved, there isn’t a published list of participants, but anyone interested in the world of SL art is bound to recognise many of the names of the artists here. The Artwalk is also a marvellous way to see art from both our physical and digital worlds and for catch artists both familiar and new to your eye. Just don’t try to see it all at once; the Artwalk is open for a month, which gives plenty of time for browsing and appreciating the art without feeling overloaded.

SLurl Details

All of the Raglan Shire Artwalk regions are rated General)

• 2D Art Landing Points
  • Raglan Shire Artwalk Area 1
  • Raglan Shire Artwalk Area 2
  • Raglan Shire Artwalk Area 3
  • Raglan Shire Artwalk Area 4
• 3D Art:
  • Morning Shire Shire 3D Area 1
  • Heron Shire 3D Area 2
  • Athen Shire 3D Area 3
  • Raglan Commons Park
• My little corner