Tag: Art 2026

Burleh’s Liquid Landscapes at Andante in Second Life

Posted on by Inara Pey
Andante Gallery, May 2026: Burleh Leonard – Liquid Landscapes

Jules  Neville (Jules Catlyn), co-owner of Andante Gallery along with Iris Okiddo (IrisSweet), invited me to visit their latest exhibition, featuring the work of Burleh Leonard, entitled Liquid Landscapes.

Until this exhibition, I hadn’t come across Burleh’s work, and having now visited, I have to say I’ve been missing out. His work is predominantly focused on Second Life landscapes, offering unique and captivating views of the diversity and beauty of SL locations, touched with the use of preferred EEP settings / post-processing techniques.

Andante Gallery, May 2026: Burleh Leonard – Liquid Landscapes

This is very much the case with Liquid Landscapes, a curated series of Burleh’s work. Across 19 images, he takes us on a tour of some of Second Life’s public spaces, capturing them through the lens of his camera and the eye of his imagination to present views that offer their subjects in the richest of colours through to the clarity of monochrome.

Each image invites the eye to admire and entices the eye to visit its subject. In this, it is a pity SLurls to all of the locations are not included with the pictures (something many of us are guilty of when exhibiting our work!). However, SLurls can be obtained through Burleh’s Flickr stream, from which the images are drawn, for those wishing to visit any given location (the sometimes transient nature of SL locations allowing!).

Andante Gallery, May 2026: Burleh Leonard – Liquid Landscapes

These very much are images by a photographer-artist exceptionally comfortable with both his subjects and the tools at his disposal, allowing him to frame moments in time and places with which we might well be familiar, in a manner that might well be very different to how they appear to the naked eye on visiting them. However, all of them nevertheless capture the spirit of their subjects and entice us to look at them anew.

In all, a superb exhibition well suited to Andante’s modest size and layout (utilising mirrored copies of the excellent Apple Fall Country Hall (a building I’ve in the past similarly modified to create a comfortable home), which allows art to be displayed in a manner that naturally encourages time to be spent with each image and without any single piece feeling like it is being crowded out by those around it demanding their share of our attention at the same time.

Andante Gallery, May 2026: Burleh Leonard – Liquid Landscapes

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Cica Ghost’s Robots and Spiders in Second Life

Posted on by Inara Pey
Cica Ghost, May 2026 – Robots and Spiders

I am, it has to be said, something of an arachnophobe. Small, little, or tiny spiders – they’re perfectly fine. Larger varieties – Well, keep them away from me. Put a really large spider in front of me – say a tarantula / bird-eating spider, or even the UK’s cardinal, tube-web or nursery-web spider – and I can guarantee I’ll be one of the first out of the door and moving at a reasonably fast pace.

I mention this because for May 2026, Cica Ghost brings us the curious combination of Robots and Spiders. But fortunately for those of us with any degree of fear when it comes to spiders, those present in Cica’s work are disarmingly friendly-looking and not at all what you might otherwise imagine.

Cica Ghost, May 2026 – Robots and Spiders

These are spiders which appear to live on a world very different from our own; one they share with a bunch of seemingly happy-go-lucky robots. In fact, like the robots, they appear to be artificial in nature, made of metal parts – bulbs, tubes, poles, etc., suggesting they have specific purposes, although their eyes remain very human and expressive.

Rather than hunting prey or weaving webs, these spiders appear content to live within the metal town they share with the robots and a handful of metallic gusenica (caterpillars). The latter are certainly a happy-smiley lot, and not in the least afraid of the spiders, even if the latter on our world often see caterpillars as prey.

Cica Ghost, May 2026 – Robots and Spiders

The robots, meanwhile, are by far the most anthropomorphic-looking (unsurprisingly)of the locals. Admittedly, some do lack arms and others look like they have old Mac computer cases or arcade game consoles for bodies (something which raises a possibly interesting question about their lineage!). However, they also appear to be a welcoming, happy bunch, ready to wave a greeting rather than snap at you with the claws that might occupy the ends of the arms they might have.

As noted, all of these creations live in a metal town in which some of the houses look like they might have once served as the heads of very big robots: hemispherical units with two eye-like windows to the side one on either side which may have once housed hearing units, and a large opening cut into the remaining side to form a doorway. Other parts of the town look like they are components of some large electrical or industrial installation or to have been made from metal boxes, and a couple of places look more akin to cabins or similar found here on Earth, making for an eclectic mix.

Cica Ghost, May 2026 – Robots and Spiders

Rounded out by an appropriate quote from Dr. Seuss, Robots and Spiders is an unusual and light-hearted artistic fantasy.

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Of Inventory, art and the artist in Second Life

Posted on by Inara Pey
Nitroglobus Roof Gallery, May 2026: Manoji Yachvili/Nomore – Inventory

I’ve covered the art of Manoji Yachvili (formerly Onceagain, now Nomore) on numerous occasions in this blog, as I have with many of the exhibitions at her formerly public Onceagain gallery. So I was a little surprised to hear (through the grapevine, at least) that she had taken the decision to withdraw somewhat from the SL art world, disbanding her Onceagain art group and stating she would not be exhibiting her art in-world any more.

Of course, we all reach points in our lives when we feel either a need for a radical change in our lives or work (or both), or that what we’ve been doing for so long is less the centre of our personal or creative expression, and we need to take a step back. However, we’re also free to have changes of heart within those decisions to a greater or lesser degree. So it is that Manoji/Nomore has taken up the challenge to present one more exhibition of her work, hosted by Dido Haas in the main halls of her Nitroglobus Roof Gallery.

Nitroglobus Roof Gallery, May 2026: Manoji Yachvili/Nomore – Inventory

Entitled Inventory (with the sub-title of What is Hidden Inside an Inventory), this is both something of a personal exhibition of pieces that many otherwise never have seen the light of day beyond Manoji’s eyes, and an exploration of art and the identity of the artist. It might also, to so degree, be seen as asking questions that are not only relevant to an artist, but to all of us in the modern world.

Not only finished works, but images, studies, tests, attempts, detours, forgetings. An accumulation that precedes the final form and often remains invisible. The inventory is the place where thought exceeds production, and production exceeds what is shown.
An artist thinks more than they create, and creates more than they exhibit. Of what emerges into the light, only a selected portion remains, filtered by time, context, and the gaze of others. But does what is not shown truly cease to exist?
Is it necessary for everything to be visible in order to be legitimized? The very meaning of the word “artist” lies within this tension.

– From the artist’s notes accompanying of Inventory

Nitroglobus Roof Gallery, May 2026: Manoji Yachvili/Nomore – Inventory

Thus, framed around the walls of Nitroglobus we have images and pieces, some perhaps near completion, others only partially complete or abandoned experiments, all drawing on different themes yet drawn together through Manoji’s familiar use of colour. Recovered from deep within the artist’s inventory, they present insights into the range of Manoji’s art and her willingness to experiment with forms, colour and presentation.

As pieces long hidden inventory, these pieces are used to frame an initial set of questions of their existence and “legitimacy” – just because they have been buried within inventory and thus unseen, does this make them less art than those pieces which did escape inventory’s confines and openly displayed? If they remain hidden and archived, and never seen by others, does this mean they never really existed? How do questions like this reflect on the artist behind the art? That so much remained hidden somehow lessen their own status, or does the fact they are prepared to judge their own work and/or pushing it to one side enhance their artistic reputation/ability?

Nitroglobus Roof Gallery, May 2026: Manoji Yachvili/Nomore – Inventory

Beyond this, the exhibition also seems to offer a broader subtext for artists and the rest of us to consider. This can be particularly seen within the wall of Polaroid-like shots with their hashtag elements as they both encourage us to remember who we are and question things from the role of the artist through to the devil of the moment – the use of AI (which somewhat circles back to the questions of archiving raised in the artist’s notes accompanying the exhibition: yes, art might be preserved (or accidentally lost) through digital archiving, but it might also be put at risk of corruption by the devouring need of AI and its image harvesters).

Richly engaging visually, whether or not one delves into the artist’s own notes or attempts to identify potential subtexts and meanings, Inventory is a captivating exhibition – and I hope it is not forever Manoji’s last.

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Woodland Reverie: an artist’s homage in Second Life

Posted on by Inara Pey
IMAGO Art Gallery, April / May 2026: Sethos Lionheart – Woodland Reverie

In January 2026, and on the recommendation of Cube Republic, I dropped into Whithermere, a Homestead region designed by Dargason L’Ardente (rlhaydenfield) as both her home and a public space open to visitors. I was immediately taken by the setting, finding it a rich, evocative and highly photogenic, as noted in Of Whithermere’s ancient beauty in Second Life.

Unsurprisingly, given the region’s beauty and sense of peace, I’m not the only one who has been drawn into its sheer beauty and touches of fantasy. Take Sethos Lionheart for example: he has been so captivated by the region and Dargason’s work that he has dedicated an entire exhibition to the region’s beauty in the form of Woodland Reverie, which opened at Mareea Farrasco’s IMAGO Art Gallery on April 15th, 2026.

IMAGO Art Gallery, April / May 2026: Sethos Lionheart – Woodland Reverie
In Whithermere, Dargason L’Ardente has created a woodland sanctuary of remarkable beauty and enchantment. The region unfolds through winding paths, shaded glades, waterfalls, streams, and hidden woodland spirits, offering visitors a place that feels both immersive and touched by quiet magic. At its heart lies Sedany Woods, shaped by Dar’s vision as the designer behind Moss & Fern Landscape Design. Her work reveals a rare gift for creating landscapes that feel alive—places of wonder, stillness, and discovery, where every turn of the path invites deeper wandering.

– Sethos Lionheart on Whithermere

IMAGO Art Gallery, April / May 2026: Sethos Lionheart – Woodland Reverie

Set out in 20 images, each perfectly framed, edited and carefully enhanced through the considered use of post-processing, Sethos’ images bring home the richness and depth of Whithermere so vividly, the desire to go from the exhibition to the region exerts a powerful pull. This is further encouraged by the provision of a landmark to Whithermere within the notecard accompanying the exhibition (touch the introductory wall, complete with a portrait of Dargason herself (which forms the 21st image in the collection)).

However, as well as celebrating Whithermere, these are images which speak to an artist dedicated to his work, who uses the tools at his disposal – Second Life, EEP settings, post-processing techniques – to craft images that both capture the heart and spirit of the locations they depict and offer a unique perspective on those locations, coloured by his eye and the mood invoked within him on capturing them. Thus, Woodland Reverie speaks both to Dargason’s considerable skill as a landscape creator and to Sethos’ own skills are an interpreter of such landscapes through the lens of his imagination and mood.

IMAGO Art Gallery, April / May 2026: Sethos Lionheart – Woodland Reverie

In all, a most excellent exhibition and homage to Whithermere, and one well worth visiting.

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2026 Raglan Shire Artwalk in Second Life: call to artists

Posted on by Inara Pey
Raglan Shire Artwalk 2025

The Raglan Shire Artwalk is one of the staples of the SL art calendar, and for 2026 it will take place between Sunday, May 17th and Sunday, June 14th, inclusive.

Running across four weeks, the Artwalk is popular event among artists and residents, often attracting over 150 artists, who display their 2D and 3D art across the regions of Raglan Shire. All the displays are open-air, with 2D art is displayed on hedgerows in and around the regions, while sculptures and 3D art is displayed in a number of designated areas, all of which allows visitors to both appreciate the art and explore the Shire regions.

Qualifying Art

For the purposes of this show, qualifying art is defined as original representations of RL photography, painting, drawing, printmaking, collage, and digital fine art that can be displayed on a prim; and SL photography, manipulated SL photography and SL sculpture. AI-generated art and pictures of RL crafts, such as beadwork, leatherwork, etc., are not part of this show definition.

Call to Artists

A Call For Artists for the 2026 event has been issued for those wishing to participate, and key points about the exhibition in addition to the above, are as follows:

  • It is a non-juried show.
  • Artists can display more than one piece if they wish.
    • 2D artists (“flat” art – photos, paintings, etc.) will be awarded a maximum of 15 LI. Individual pictures should be 1 prim, including the frame, and pieces should not exceed the height of the hedgerows against which they are displayed. No hovertext allowed.
    • 3D artists (sculptures, etc.), will be awarded a maximum of 500 LI for up to three pieces of work. Artists are requested to state the LI per piece in their application, together with its overall dimensions (length, width & height). Note that any piece exceed 10m in any of these will require special permission from the organisers.
  • In addition:
    • Sales of art are allowed, but tip jars and floating text are not allowed.
    • All art must be rated PG / G: so no nudity, please!
    • Group membership will be required in order to display work.
    • Touch-based landmark / biography givers may be included, but will count against an artist’s total LI allowance.

Registration

Those wishing to display their art should review the 2026 Artwalk Information & Requirements and then complete and submit the 2026 Artwalk Registration Form by no later than 21:00 SLT on Tuesday, May 11th, 2026.

Raglan Shire Artwalk 2025

Event Dates

  • Tuesday, May 11th: applications close at 21:00 SLT.
  • Friday, May 15th (after 09:00 SLT) and Saturday May 16th: Artist set-up days
    • Hedgerow space for 2D artists is on a “first come, first serve” basis.
    • Areas within Heron Shire,  Athen Shire, and Morning Shire will be designated for sculpture set-up with available locations designated by a marker.
  • Sunday, May 17th: Artwalk Opens.
  • Sunday, June 14th: Artwalk closes.
  • Sunday, June 14th (after 21:00 SLT) through Tuesday, June 17th: take-down of works.

Event Contacts

In-world contact preferred.

  • Artwalk Director: Linn Darkwatch.
  • Artwalk Assistant: Panacea Pangaea.
  • Artwalk Assistant: Beth Ghostraven.
  • Artwalk Assistant: Karmagirl Avro.
  • Questions may also be asked through the Friends of Raglan Shire in-world Group.

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Cica’s Happy Planet in Second Life

Posted on by Inara Pey
Cica Ghost, April 2026: Happy Planet

April 2026 is the month of Artemis 2 (well, at least the first ten days are!), which will see a crew of four pass around the Moon before returning to Earth In the process the crew will set a new record for the furthest any humans have travelled beyond Earth thus far – some 406,773 kilometres, just breaking the record of 397,848 kilometres set by Apollo 13 during its aborted mission to the Moon in April 1970,

As such, it is thoroughly appropriate that whether by accident or design, Cica Ghost is using April to take us on a trip into space and to her Happy Planet.

Cica Ghost, April 2026: Happy Planet

Set against the backdrop of night, from which a large Moon (or possibly a planetary twin) literally watches over everything via the circular (and eye-like) blue sea covering a far portion of its otherwise dull browny nearside, this is a place of fantastical wonder, backed by a truth from US cartoonist Lynda Barry:

We don’t create a fantasy world to escape reality. We create it to be able to stay.

In other words fantasy and our use of it is more about presenting us with opportunities to pause and renew our strengths and abilities in the face of a reality which can oftentimes be harsh or unpredictable – or both – in its daily nature, rather than being a simply a crutch for helping us cope – as the unimaginative in nature have often claimed.

Cica Ghost, April 2026: Happy Planet

And fantasy can be both wonderfully creative and fun – as Happy Planet, with its strange but in some cases familiar creatures and inhabitants. From cats with antennae to almost slug-like beings oddly mindful of Gru’s Minions, occupying the rocky landscape and possibly living in the rock formations which appear to have holes cut into them to form interior spaces complete with windows and chimneys, this is clearly a place born of a creative and fantasy-oriented mind, rich in strange flora.

Some of these semi-sluggy (if you will) locals are not confined to the ground, but zip around overhead in personal flying saucers, deftly missing asteroids which –  to unabashedly steal from Douglas Adams – hang in the air exactly the same way as bricks don’t. And you can join the flying locals; located in the setting is a free flying saucer giver. Simply claim one, add it from inventory and take flight.

Cica Ghost, April 2026: Happy Planet

For those who prefer the alien equivalent of terra firma, there are plenty of opportunities for ground (or slightly elevate, thanks to re various raised paths) exploration, which will also reveal interactive dance spots scattered around the setting. I didn’t find any sit points while mousing over things, but I may have missed them. Either way, there is no mistaking Happy Planet is a happy place to be.

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