Tag: Art 2026

I am fascinated by the idea that the body does not reveal a person’s character, but that the mind creates its own form. The anatomical transformations are therefore neither physical deformities nor products of fantasy. They are metaphors—visible traces of inner states, thoughts, and attitudes.

– Sophie de Saint Phalle (Perpetua1010) on MORPHOSIS

So reads part of the introduction of MORPHOSIS, a collection of 11 pencil and ink drawings on cotton rag paper, exploring the contrast between outwards appearance and inward nature by Sophie de Saint Phalle (Perpetua1010), and which opened at her Subcutan Art and Architecture Centre on July 15th, 2026.

We all like to consider ourselves balanced individuals with a broadly positive outlook on life, capable of meeting the challenges of life good and bad with a solid, well-adjusted ability to manage.

But this is not always the case; people can be overcome by darker, more negative feelings and emotions to the point where that well-adjusted balance is lost. Instead, the likes of fear, hatred, anger, fanaticism – even jealousy and despair can become the driving forces of their lives, either as one all-consuming outlook, or in some combination or other. It is not always obvious that a mind has been so affected; not when considering a person’s outward appearance.

But what if there were? What if deep-seated negative feeling and thoughts, were to be manifested in our appearance?

Within MORPHSIS, therefore, Sophie offers-up drawings of the human body which are not perfect and devoid of the classical lines of beauty one might normally associate with such studies; instead, they are marked by subtle imperfections. Their purpose is to act as a leaping off point for our imaginations within the context outline above: that of negative imbalances of the mind becoming visible. In viewing them we are asked not to see their imperfections as being part of the artistic process, but rather as the darker inner self writ large for the world to see.

Within this context we are then challenged to ask ourselves: If my mind, my imperfect thoughts, were to be manifested in my appearance, what form would I take? What might I see reflected in a mirror?

A layered, personal thought experiment through the use of art, MORPHOSIS is an an intriguing, well-presented and challenging exhibition. My thanks to Sophie for the invitation to visit.

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• MORPHOSIS, Subcutan Art and Architecture Centre (Cobian Lane, rated Adult)

Back in June 2026, I received an invitation from Rowyn Mariposa (MzStiX) to visit a new endeavour by her fiancée, Pamela Irelund, the Irelund Museum of American Art. It’s taken me over a month to get around to actually visiting – so my apologies to both Rowyn and Pamela for this.

Located within the Second Norway estate – and in fact little more than a couple of good stone throws from where I have my island home, so there was really no excuse for not visiting sooner, given the museum can easily be reached by boat!) – the Irelund Museum occupies a large, modern building of single level design, partially extended by Pamela herself.

For those arriving by teleport, the Landing Point is located within the inner fountain courtyard of the museum, and it is here that any exploration should begin. For those arriving by boat, take the steps up from the mooring to the the door at the top of the steps, then follow the red carpet in front of you down to where the courtyard opens up on the right.

In all, 10 areas (labelled as rooms) plus a hallway, present American art from across the country’s modern 250-year history. The art is arranged chronologically by room and the rooms proceed in a clockwise manner from Early American Portraits, Hudson River School and Tonalism (located in a blue room to the south-east corner of the building) through to Cinematic Realism and Political Art, with the courtyard offering the museum’s single piece of sculpture: Steppe by Antoni Milkowski and a large reproduction of Dream Garden by Maxfield Parrish and Louis Comfort Tiffany.

A highly informative catalogue of the museum’s main displays can be found at the large desk in the fountain courtyard. This provides an introduction to the museum, together with biographical thumbnails of all the artists responsible for the pieces on display, again divided by room.

Designed as a HUD, it is a little large to be opened and read when viewing individual pieces, but it can be minimised easily by clicking the eye-with-a-bar icon within the left and right navigations areas. This will close and reduce the catalogue in size; clicking on the catalogue again will open it at the last page viewed (and will do so, even if detached, allowing interrupted visits to be resumed easily).

Across the fountain courtyard is the Special Exhibitions room, which at the time of my visit this was hosting Fantastic Dreams and Wistful Reality: Maxfield Parrish and Norman Rockwell. A smaller desk just outside this room offers a catalogue specifically for this exhibition, and which operates on the same basis as the one described above. And, incidentally, you can reach Room 1 of the museum’s exhibition spaces by cutting through this space.

In terms of copyright, all of the works through to 1928 are out of copyright; those after that year are within copyright. However, the museum does not sell any of the images, and all are provided for educational / informational purposes, and intentionally presented in low-resolution, thus helping the museum meet the requirements of fair use as defined for copyrighted works under US law.

A group has been established for the museum for those wishing to keep up with events and special exhibitions, and the joiner can again be found in the fountain courtyard.

The Irelund Museum of American Art is clearly a personal labour of love, built out of knowledge of the subject. It is also highly informative and a pleasure to visit and tour. Within it is a further demonstration of the ability of Second Life to both bring art to an audience which might never otherwise to be able to appreciate all of the pieces as a single exhibition, and as its ability to inform and educate.

My congratulations to Pamela on her work, and my thanks to Rowyn for the invitation.

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• Irelund Museum of American Art (Rune, rated Moderate)

Having opened on July 15th, 2026 at Souland Gallery curated by Julana Allen (Julana Teichmann), Collection is a gathering of work by Pagan Lane, bringing his art from the physical world into Second Life.

A multimedia artist, Pagan uses a mix of digital manipulation, photo embellishment and traditional painting in oil and acrylics to create images that are both uniquely expressive and which cover multiple genres from portraiture through abstract and expressionism to the surreal. His work can bring together themes of the mystical and ethereal to the real and the emotive, and can serve to underscore his interests in psychology, the human condition and mythology.

At first appearing to be a randomly eclectic selection of pieces, Collection serves to illustrate all of the above, although there is a lean towards mythological subjects which I found to be richly engaging in their presentations and interpretations of their subjects.

Take the portrait of Pele, the Hawaiian creator-goddess; her association with fire and volcanism is brought forth in the use of red and black in the background, suggestive of lava flowing and cooling whilst bright splashes of red to the foreground represent fire. Meanwhile, her connection to Hawaii is gently communicated through the fiery red haku le around her head.

Similarly, one of the two studies of Persephone marvellously captures a key element of her story following her kidnapping and unwilling sojourn within the Underworld. Presenting her within what could be taken as a range of mountains, the image is a strikingly powerful personification of her return to the surface of the world.

Within Nyx and Hemera, meanwhile, the contrast between mother (Nyx, goddess of the night) and daughter (Hermera, goddess of the daytime) and their attributes is beautifully offered in a modern abstracted style where colour and the appearance of the Sun and Moon conveys so much. Alongside of this, Erebus and Aither (husbands to Nyx and Hemera) perfectly encapsulates their opposing forces (darkness and light) in a monochrome piece. These are works which sand both individually and as a pair untied in the stories they convey.

With Hephaestus and Triton, Pagan offers unique embodiments of the deities they represent, casting them in a whole new light. Triton, for example, foregoes the traditional middle-aged-man-with-beard portrayal and instead presents figure who is younger and vital and alive – as one might expect from a god of the sea. Within Hephaestus we similarly see not a maker of weapons for the other Olympians or a son shunned by his mother and seeking revenge (as in one branch of his mythology); instead we see the face of a young man whose eyes are very much the mirrors of his soul.

I could ramble on; but this is an exhibition to be witnessed first hand – and if you are unfamiliar the the many branches that are the tree of (particularly) Greek mythology, then Collection presents the ancient gods and their attributes in a manner which encourages further exploration of the subject.  And even without such spurring, Collection presents a visual feast of art, each item within it can be appreciated in its own right and for the talents of the artist.

A genuinely rich and layered exhibition, Collection is not one to be missed.

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• Souland Gallery (Moordon, rated Moderate)

I’ve long admired the artistic collaboration between Lalie Sorbet and Chrix (chrixbed) for the immersive installations they have produced, such as Bloom: Flowers of Evil from 2024, and Murmuration – A Never-Ending Show from 2025. So when Lalie invited me to see their latest – and quite possibly most immersive thus far – installation, I knew I’d have to hop along as time permitted to immerse myself within it.

Entitled Mosaic it is, and without any hyperbole, mesmerising. However, before visiting, make sure you have local sounds enabled and your viewer is set to Use Shared Experience via World → Environment.

The installation has been inspired by the works of French artist Jean Giraud (1938-2012), better known the world over as Mœbius. While his work folded into itself multiple genres such as the American West and Belgian-style comic books, it is as a co-founder of Métal Hurlant, one of the most influential science fiction publications of the latter part of the 20th century, and his work as a science fiction and fantasy artist and illustrator which earned him international recognition.

Mœbius created everything from characters to fantastical creatures and worlds through a style that became a genre of its own, being widely adopted by comic book illustrators, storyboard artists and others. He very much focused on allowing his drawings to drive a story rather than simply illustrating a written narrative. In fact, his first publication under the Métal Hurlant banner, the 4-part comic book series Arzach, comprised entirely wordless stories.

All of this can be seen as influences within Mosaic.

Sitting within a desert-like landscape is a ring of monolithic structures, most carved or built from rock formations (one stands outs as being clearly of artificial construct), intermixed with exotic plants, this brings forth a world straight from Mœbius’ pens. The air is heavy with a thudding, mixed beat through which chanting can be heard together with the metronomic clicking of machinery. Every so often comes a deeper, reverberating boom accompanied by flashes of light, like forked lightning.

Within this ring is a world of motion. Marvellous creatures circle the sky or wander the shallow waters whilst eight giant Guardians stand form a circle facing the centre of the water, the flora at their feet swaying in time to the drum-like beats, phantasmal trails curling and sweeping through the air. Each Guardian is of a different appearance, suggesting they all might be of different worlds. Some may have fireballs floating before them; some remain still; others at times raise one or both arms. All are clearly taking part in a ritual as, periodically and in time with the deeper booms, the lightning-like trails arc from them to the centre of the circle, bright bursts of an ethereal something.

As they do so, large mosaic-like tiles bearing familiar Earthly images  float through the installation in a cyclical process and apparently at the will of the Guardians. During the cycle, the tiles will form path-like circles together with bridges which extend away from each Guardian to reach the centre of the waters. Then the paths an bridges will slowly dismantle, the tiles rising to form structures and shapes in the air over the centre of the circle. What these structures might be varies with each round of the cycle, but once done, and on an unspoken command, the structures slowly break down and the cycle repeats.

Exactly what this all might mean is up to your own eyes and imagination to determine; this is a place where stories await their time to unfold in the minds of others; a place of richness of detail and motion adrift from time where mysticism and mystery rub shoulders with technology and alien nature. Perhaps the Guardians are technomages; maybe they are gods engaged in creation. The stories are yours to weave.

Forming a part of the outer ring of structures is a hemisphere enclosing an event space, the floor of which is also formed by these tiles – at least until they rise to join with those called to the centre of the installation. Step on any of the mosaic titles anywhere within the installation and it will respond with motion, the illustration on it will illuminating briefly while a tone or sound might be heard.

Meanwhile, the artificial tower – which serves as a Landing Point – includes a number of vehicles visitors can sit on or within and which will then take flight around the installation and becoming a part of it. The tower also offers the opportunity to teleport and discover how Mosaic came to be, complete with uploads of art by Mœbius. For those wishing to spend time observing the Guardians and pondering their ritual, places to sit are to be found on some of the exotic trees dotted around close to the installation’s perimeter.

For those who want to exercise their brains slightly differently, there is a memory game for up to four players sitting diagonally opposite the events space. Look for the square of grey “owl” tiles and sit on one of the mushrooms to one side of it. The game is played by trying to find pairs of tiles by selecting one of the owls to turn over, and then another. Correct selections gain the pair of tiles (removing them from the game); incorrect answers flip the tiles back, so you need to recall their positions if on a later go, you come upon the other half of a pair.

 

Immersive, excellently conceived and executed (the timing of the drumming booms and the lightning is exquisite), populated by beings and creatures which Mœbius – if he were able to see them – would have doubtless approved and lauded, Mosaic is genuinely captivating. As already noted, make sure you have local sounds enabled when visiting and do use the Shared Environment; once you have visited, don’t forget the opportunity to hop up and learn how the installation was developed and perhaps catch the official video.

Congrats to Lalie and Chrix for again demonstrating the power of Second Life to artistically delight and enthral.

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• Mosaic (SLEA6, rated Moderate)

Concrete Shadows is an exploration of urban life captured through the interplay of light and shadow in contemporary artwork. This city life exhibition illustrates how the silhouettes of people merge with their surroundings, creating a dialogue between the individual and the urban landscape. 

– Miles Cantelou

Thus reads the artist’s introduction of a series of acrylic canvases adapted for upload to Second Life for the exhibition Concrete Shadows, which opened in mid-June at ArtCare Gallery, curated by Carelyna.

Those familiar with Miles’ work will know that his range encompasses street and studio photography, painting in acrylics and oils, working within 3D environments and more. Utilising genres from abstract through surrealism to abstracted expressionism, his art is a constant study of light and light forms often with a strong lean into using light and light forms. Much of his work is colour-rich and boldly stated. Here, however, and as his introduction notes, he large eschews colour (although some is present in places to give an added subtle context to the urban environments featured) in favour of a more monochromatic look.

Comprising 20 individual pieces, Concrete Shadows could be a record captured from within a city anywhere in the world. But precisely where their inspiration comes from doesn’t actually matter;  what does is the manner in which they resonate with us as we view them and their the subtext of line, shape, shadow and block serve to suggest; so that in some it is possible to perceive the bustling and disorderly order of somewhere like Tokyo or Shanghai whilst others might suggest a kinship with London, Paris or New York – or wherever your imagination takes you.

All of them offer narratives of life, be this used as a collective nouns for the bustle of people passing along busy streets, cojoined by matters of business, tourism, need – whatever; or be it a reflection of the individual caught in a moment of introspection, transition or perhaps loneliness within the midst of that bustle. More broadly, they tell a story about the places we have created in which we go about our business and lives; the ebb and flow of the relationship between conurbation and self. Cities are places we have built out of our own necessity; yet at the same time we are mere elements of their necessity, serving their growth, their wealth, their power. They cannot exists without us and nor can we, as a society, function without them; the one gives purpose to the other.

Is there balance in this? Perhaps; perhaps not – but there is a blurring. Our relationships with the cities in which we live is one of adversarial symbiosis; it constantly shifts and changes as we move through the concrete and steel canyons or pause for breath in the small haven of green park spaces. We move as one, currents and eddies of humanity coursing through streets and avenues, flowing into and from buildings, an underscoring of our need for them – and their reliance upon us. At the same time we seek to remain individuals, operating within and yet apart from the rush of City Life and all it brings.

An intriguing and engaging exhibition.

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• ArtCare Gallery (Emotion, rated Moderate)