Tag Archives: Art in SL

Journey of Life in Second Life

Paris METRO: Journey of life

Journey of Life is the title of a new exhibition of art by Satus Voltz (satus9), which opened at the Paris METRO Art Gallery on Saturday, March 18th. In terms of broad theme, it in some ways continues and extends the examination of life seen in the previous exhibition at the gallery, Life Is A Journey by Elin Egoyan (which you can read about here). However, where Elin considered our physical lives in her exhibition, Satus here considers time and travels through Second Life.

Twenty-three pieces of art are offered for display. They offer both an intriguing presentation of evocative individual pieces and a finely balanced collection when taken as whole, bringing together a number of subtle pairings, from the balance between monochrome and colour in the landscapes, through the use of either anticipation or pensiveness as an emotional driver in the avatar studies or the subtle mixing of purely 2D images with those with a 3D aspect; all the way through to the mix of landscapes and avatar-focused  images. In short, this is a richly diverse collection of pieces which are not only encapsulated within the overall theme, they beautifully demonstrate Satus’ artistry and expression.

Paris METRO: Journey of life

The use of 3D elements with a 2D art display perhaps isn’t new. Several artists  – notably Molly Brown – have incorporated 2D and 3D art into a single whole in the past; and on entering the gallery to encounter Shattered (in the foreground of the banner image at the top of this piece), I was immediately put in mind of her work. However, the sheer dynamism and narrative in Shattered is breathtaking. Elsewhere, the use of a 3D element is more subtle but no less emotive and effective; from starlight filtering through the fan of branches of distant trees, to the fall of rain or the use of dandelion seeds and dust motes drifting through the air.

Then there is balance between monochrome and colour in the landscape pieces, which brings a certain harmonic tension to them. We are at once drawn towards the three black-and-white images sitting among their more numerous colour companions, but at the same time, they encourage is to consider the use of colour as well as light and shade within the colour pieces.  A similar tension can be found within the more avatar focused studies. Within these, the pensiveness within pieces like Departure, Burning House (both of which are shown below), and I Don’t Wanna Live Forever, is countered by the depth of anticipation evidenced in Silent Awakening, Polar Express and Confetti of The Sky, with both emotions perfectly brought together in  Can’t Take You With Me.

Paris METRO: Journey of life

Evocative, emotive, beautifully (and naturally) composed, the images in this exhibition are utterly entrancing and perfectly set within an environment accented by Satus. Absolutely not to be missed.

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The Photo Game in Second Life: Proph and a Pey

The Photo Game: Proph, as selected by me

In February 2017 I wrote about The Photo Game, an intimate exhibition of art hosted at Boudicca Amat’s An Uncertain Destiny (which you can read about here). It formed the in-world continuation of an idea Boudicca and fellow artist Ricco Saenz started on Flickr in the latter part of 2016, where they would each choose two on one another’s compositions and comment on them.

In-world, The Photo Game has expanded to three images apiece for each pair of invited artists, and for the inaugural February event, Bou and Ricco took to the stage. For March / April, the spotlight has shifted to two more artist / photographers, one of whom has the last name of “Pey” …

The Photo Game: me, as selected by Proph

To be honest I was thrilled, surprised and apprehensive about things when the invitation arrived – and apprehension turned to a feeling akin to panic when Bou revealed I have been paired with Proph (burningprophets); a man with a talent for weaving a tale with his images, and an eye for composition and framing which far surpasses my own.

I was instantly drawn to the three pieces I’ve selected from Proph’s portfolio both because I was instantly attracted to them and because they all encapsulate his skills so beautifully. The three are: Never Hide Your Heart, Wasn’t Tomorrow Wonderful and If You Miss the Train I’m On. I’m not going to comment further on them here, as I have already written a fair essay on each, but all three are genuinely remarkable pieces, and well worth contemplating – so I do encourage you to go along as see them for yourself.

The Photo Game: “If You Miss the Train I’m On” by Proph – a brooding, dynamic, piece expressing an entire novella in a single image

Speaking as someone still finding my way with images, photographs and illustrations – I see my work far more as illustrations for this blog than as being in any way “art” – I’d like to thank Proph for his feedback on the pieces he chose; hearing another frame one’s own work in words and  reflect the few nuances within a piece that were intentional, was reassuring and a boost to confidence that I’m actually starting to understand the medium I’m dabbling in.

My thank, as well to Bou and Ricco for the invitation to participate so early on in the Game, I loom forward to reading thoughts and feeling from other on all six of the pieces on display at An Uncertain Destiny.

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A Wild Lost Line in Second Life

MetaLES: Wild Lost Line

Wild Lost Line, now open at MetaLES, curated by Ux Hax and Romy Nayar, is a new art / sound installation by artist and musician Morlita Quan, a physical world artist hailing from Spain and working under the name. Her artistic expression covers 2D and 3D art and music, and all three are very much reflected in her Second Life presence.

The installation should be be viewed with the viewer’s Advanced Lighting Model enabled and local sounds turned on, with local time set to midnight. There is a recommendation to set Shadows to Sun/Moon + Projectors, but given the time-of-day setting and the fact that Shadows can result in a sizeable performance hit for some, I would suggest this isn’t so vital a requirement. I would, however, recommend using headphones to get the full stereo effect of the aural environment. Once you are set-up, touch the teleport board at the MetaLES landing point to jump to the installation.

MetaLES: Wild Lost Line

This comprises a path through a series of halls and rooms in which Mori’s art is displayed, the route through them indicated by black or white arrows on floors and walls. The art itself is offered on a huge scale, from drape-like hangings you must walk through, to pieces forming floors and ceilings, as well a those hanging on walls. They are, perhaps, a little too huge – but I’ll come back to that.

The final part of the exhibit takes you along the top of the walls separating the various rooms, allowing you another view of the art on display. at the end of this, a teleport drops you to a 3D element, a flower-like structure surrounded by floating cubes. Touch a white cube at the base of “stem” of this, and you’ll be seated within the “petals”, where touching the surrounding ring  of coloured triangles and the small spheres below them will allow you to play various notes and tones. From here, a ramp leads you back into the installation while a teleport board takes you back the MetaLES landing point.

MetaLES: Wild Lost Line

Quantifying Wild Lost Line is difficult. I find Mori’s work to be its most captivating when a piece can be seen in its entirety. This allows one to fully appreciate its complex beauty, the use of line, colour, shade and pattern to present something deeply organic yet also clearly geometrically defined. Such is the overwhelming size of the pieces present in Wild Lost Line, my deeper appreciation born of this appreciation of complexity and form was lost amidst the technicalities of camera juggling and an inability to easily encompass all of a single piece comfortably in my view. Thus, I found myself conflicted in touring the installation.

However, you may see things differently – so why not pay a visit?

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The Journey in Second Life

DaphneArts: The Journey

Now open as the ground level of DaphneArts is a new interactive installation by Angelika Corral and Sheldon B, The Journey, which builds on their recent work with mixed media, notably with January’s celebration of Edgar Allen Poe (see: A dream within a dream: celebrating Poe in Second Life).

“The Journey is an imaginary world, telling a fantastical story, using metaphor, analogy and fable,” Angelika and Sheldon say of the installation. “Perhaps a different story to each and everyone, according what the individual is searching to find out, about who and what they are throughout life, as they make choices based on their experiences, beliefs, and outlook. But the search for meaning in life is a Hydra; one question answered leads to many more to contemplate…”

DaphneArts: The Journey

Visitors start their journey on the upper level of a large, cube-like glass and steel structure where they will be asked to allow the attachment of a HUD – which they should allow, as it provides the means to experience the interactive elements of the installation. Instructions on how best to view the installation are provided via information boards, including setting the preferred windlight (if your viewer doesn’t adopt it automatically), and a short video introducing the piece.  Below this, on the main floor, sheep appear to be emerging from two large machines, pointing the way forward, to a snowy world outside the cube.

Core to the piece are three seats: one inside the cube, one out on the snow, the third on the water. sitting on them will trigger a recital of a poem, read by Angelika. All three poems offer reflections on life’s journey. Each of them –  Fire, by Dorothea MacKellar,  A Journey by Nikki Giovanni and Paul Laurence Dunbar’s We Wear The Mask –  provoke thinking through their use of metaphor, give us pause to consider our own outlook on life and the journey we are taking through it.

DaphneArts: The Journey

Metaphor is richly presented throughout the installation, from the poems themselves, to the guiding lines of sheep and fences (a reference to sleep, the gateway to our deepest imaginings, and thus to this imaginary world), to the crows with their reference to death, the inevitable destination of life’s journey, no matter how we attempt to dress it up – such as through a glowing ascent to the heavens. Even the snow falling thick and fast might be seen as a metaphor.

A journey is a fascinating piece, one which depends entirely upon our own experiences, outlook and desires  / hopes / fears in life. It is a piece which, as Sheldon as Angelika note, for every question asked and possibly answered, a dozen more raise their heads. Thus, interpreting  the installation is genuinely a subjective matter, driven by the questions we bring to it, and those which follow them.

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