Art and artists at La Maison d’Aneli

La Maison d’Aneli: Xirana

Now open at La Maison d’Aneli Gallery, curated by Aneli Abeyante, is an interesting ensemble art exhibition featuring the work of Nabrej Aabye, Xirana (Xirana Oximoxi) and Betty Tureaud.

A writer and artist in the physical world, where she is known as Núria Vives, Xirana presents Women Artists XVI-XIX, intended to both showcase the work of ten female artists from the 1500s through to the early 1800s. In particular, the exhibit is intended to illustrate “the difficulties they had to deal with to be recognised as professional artists”.

La Maison d’Aneli: Xirana

The ten artists in question are presented with a portrait by Xiranna, together with (for the most part) 2 of their paintings. The critique they faced is designed to be evidenced by the male silhouettes passing comment in speech bubbles.

However, how representative the comments are to critiques the artists may have faced is perhaps questionable. For example, the idea that Élisabeth Sophie Chéron was unknown as a painter in her lifetime is hard to reconcile with the fact that while alive, she was acclaimed as a gifted poet, musician, artist, and academicienne. I found myself having similar niggles around the presentation of several of the other artists as well (notably Mary Beale and Élisabeth Louise Vigée Le Brun – with the latter, it is not unfair to say many artists, regardless of gender, depended upon the patronage of royalty and / or the rich).  The flip side to this is the controversy of accreditation of Judith Jans Leyster’s work is pretty on-the-nose. As such, in lieu of notes from Xirana outlining her view on how these artists faced prejudice, I would suggest taking time to Google them and draw your own conclusions.

La Maison d’Aneli: Nabrej Aabye

Across the hall, Nabrej Aabye presents a series of his vibrant paintings, split between those created in the physical world and those that appear to have originated with images captured in Second Life, all of which are framed by a story mounted on the wall in alongside the entrance to his display space.

These are all remarkable paintings, a good number abstract in nature, but all alive with colour and depth. Alongside  of the abstract are portraits suggestive of an origin within Second Life (Recto Verso and The Architect), while also to be found in the mix are animal studies, two of which also appear to have their roots in SL (The Elephants’ Dance and Refugees).

La Maison d’Aneli: Betty Tureaud

The final exhibit is a 3D installation by Betty Tureaud, which appears untitled. I’m note entirely sure how to view it myself so, and without wishing to appear in any way dismissive, I leave to visitors to define it for themselves.

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December 2018 at La Maison d’Aneli

La Maison d’Aneli: Lam Erin

Now open at La Maison d’Aneli Gallery, curated by Aneli Abeyante, is a new ensemble art exhibition, one which offers a rich mix of virtual and physical art and photography in what is an eclectic but engaging display. On offer are pieces by  Lam Erin, Renoir Adder, Bump Squeegee, Layachi Ihnen, Chapichapo Delvalle and the inimitable Moya Patrick (Moya Janus).

For those unfamiliar with Moya (Patrick Moya in the physical world), he has been a part of the artistic movement Ecole de Nice, and throughout his career has been as the forefront of artistic expression through all forms of media and technology, including virtual spaces. He is an early pioneer of video art, and was quickly drawn to the potential of virtual spaces like Second Life, in which he has been involved since 2007 and where he continues to maintain his Moya estate of four regions. He was also one of the first artists to actively promote Second Life in the physical world, with Rinascimento Virtuale, hosted by the museum of Anthropology of Florence, in 2009.

La Maison d’Aneli: Moya Patrick

Entitled Carnaval et fêtes populaires (literally “Carnival and popular festivals”, but given the English title “Carnival and popular traditions” in English), it is a typical piece from Moya, full of vitality, reflecting elements of his physical world art. Within it is – as one would expect – his alter-ego of Moya, familiar by his Pinocchio-like nose, and little Dolly, inspired by the cloned sheep of the same name. Frivolous, engaging, with some subtle motifs, Carnaval et fêtes populaires is a colourful piece, well in keeping with the time of the year.

Below it, on the lower floor of the gallery are three exhibition spaces presenting the physical world art of three very different artists: Renoir Adder, Layachi Ihnen and Bump Squeegee.

La Maison d’Aneli: Renoir Adder

I confess to being unfamiliar with Layachi’s art, which is offered here as the largest of the three displays. A profession of mathematics, Layachi started painting in 1969, and since 1999 has focused on mixed media, combining digital painting on computer with traditional techniques. For this exhibition, he presents pieces that reflect this mixing – notes the faces in many of the paintings -, all offered in a unique and distinctive style.

As an artist, Renoir Adder straddles genres. Within his pieces can be found elements of post-impressionism, potentially influenced by the like of Van Gogh; suggestions of Picasso; and impressionist leanings.

La Maison d’Aneli: Renoir Adder

Much of this is in evidence in the 15 pieces displayed at La Maison d’Aneli, in the midst of which are, to my eyes, three absorbing painting of Geishas which exhibit a unique and eye-catching style that focuses the attention marvellously, encouraging the observer to work outwards from them and take in the rest of the paintings in turn.

Bump Squeegee’s collage art is, for those familiar with it, instantly recognisable. Rich in colour and style, the dozen pieces here are a marvellous selection of Bump’s work. By their very nature, these are pieces for which description is meaningless; they deserve to be seen first-hand in order to appreciate them fully.

La Maison d’Aneli: Layachi Ihnen

Back on the upper level of the gallery is a selection of physical world photography by Chapichapo Delvalle. Another artists with whom I was unfamiliar, Chapichao’s work focuses on nature and natural settings, varying from full landscape pieces to focusing down to things like a small branch of pine cones set on the stonework of a footpath, offered as a series of studies in colour and style.

Colour is a major element in these images, and might be said to be a physical reflection of Chapichao’s vibrant view of Second Life.

La Maison d’Aneli: Lam Erin

Lam Erin, in providing full disclosure, is one of my favourite Second Life landscape artists, although I only discovered his work less than two years ago. As a virtual artist, Lam takes images captured within Second Life and transforms them into the most fantastic digital works of art, so rich in detail, you feel as if you can see the individual brush strokes in an original piece of art.

One of the hallmarks of Lam’s work is his presentation of cloudscapes. These cast a dramatic, even foreboding, look to the skies of his art that brings an added depth of realism and narrative to his paintings that is utterly remarkable. It is this attention to his clouds and skies that also makes his art redolent of some of the great masters of landscape painting.

As always from Aneli  and La Maison d’Aneli, an engaging exhibition of works by talented artists, and not one to be missed.

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A November ensemble at La Maison d’Aneli

La Maison d’Aneli: Cybele Moon

Currently open at La Maison d’Aneli Gallery, curated by Aneli Abeyante, is a new ensemble art exhibition featuring 2D artists Cybele Moon (Hana Hoobinoo), Violaine (Anadonne) and Barret Darkfold, together with 3D artists Nevereux and Rikku Yalin. This is an eclectic mix of artists, resulting in a diverse set of exhibitions, reached by taking the teleport from the gallery’s ground level lobby area.

Cybele Moon’s art should need no introduction; she is a doyenne of fantasy art / photography in Second Life, producing marvellous images that are richly ethereal, fabulously produced and each rich in its own story.  Her art within Second Life is very a reflection of her photography in the physical world, where she captures landscapes – sometimes using an infra-red camera – and produces mythical scenes of extraordinary depth and life.

La Maison d’Aneli: Cybele Moon

Many of the pieces she displays in-world combine the physical and virtual worlds to create wonderfully layered pictures which offer not so much a windows into narrative, but doorways into entire realms; stories often captured in words and pictures on her website, Cybele Shine. She says of her work, “I’m a time traveller who loves exploring old stones and tomes and forest groves. My dreams are filled with enchanted children and haunted woodlands,” and this is perfectly reflected in the selection of images she is displaying a La Maison d’Aneli.

On the lower floor of the gallery are exhibitions of physical world art by Violaine and Barret, two artists I’ve not encountered before, but each with a distinctive style.

La Maison d’Aneli: Violaine

Violaine presents a mix of art and photograph (some of which touches on NSFW) grouped in deliberate sets of four, from abstracts (as with the set entitled Instants), through to deeply intimate moments (as captured within the set entitled Neighbours). Each set has its own unique attraction, be it a recollection of Warhol through Angelina, or an echo of L.S. Lowry seen in Houses.

Barret’s work is wholly abstract, featuring pieces of swirling  motion or carrying hints of linear geometry. The majority are presented a warm colours: yellow and orange with a hint of red in places, or with earthly browns and greens, although some are more earthen in colour, encompassing paler shades and tans. All hold a common bond, one with another, something than gives this exhibition an almost narrative flow as the eye pass from one images to the next and from upper row to lower.

La Maison d’Aneli: Barret Darkfold

For her 3D installation, Nevereux presents Assembly Line, a piece that places the visitor inside a 3D drawing, asking a series of pointed questions as it does so. These questions, asked within a blank verse statement, encompass the nature of identity and the content of life. The art within the piece serves as an illustration of life: two-dimensional aspects: a house, a street a place of work, a children’s playground, rendered as 3D (our digital life of 0s and 1s referenced in the blank verse) by the movement, of a pencil across white surfaces (“what if we’re analogue?”).

It’s a curious piece, a little difficult to grasp, but also – perhaps – with a touch of self-effacing humour (“You can align yourself to me instructions … or you can use binoculars + an aspirin and go explore”).

La Maison d’Aneli: Nevereux

Rikku Yalin offers another curio of an installation, largely focused on 3D pieces of a decidedly mechanical bent – including a giant robot, a mechanical cat, smaller robots – all gathered around wooden couple standing as ringmaster and wife. 2D art on the walls in part continue the mechanical theme.

However, for me, the most striking piece, for all the quirkiness of the rest, is a stunning portrait of the late actor Charles Bronson. It’s a stunning piece which, aside from the moustache, could have been painted while he was on the set of Sergio Leone’s celebrated western, Once Upon A Time in the West.

La Maison d’Aneli: Rikku Yalin

Five very different displays offering five unique perspectives of art and narrative, all of which add up to one intriguing exhibition.

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Abstract and surreal in Second Life

La Maison d’Aneli: Cullum Writer

Now open at La Maison d’Aneli Gallery, curated by Aneli Abeyante, and located in the gallery’s sky exhibitions space, is a series of exhibitions which – with one exception – might be described as exercises in the surreal and the abstract, mixed with a little geometry.  The artists sharing the space are Cullum Writer, JudiLynn India, Senka Beck and 9Volt Borkotron, and Aneli Abeyante herself. Four of these artists are exhibited on the upper level of the gallery space, and one on the lower, who shares the space with Megan Prumier, who completes the current set of artists.

“My work is entirely intuitive,” JudiLynn says of her paintings. “I get lost in the layering of texture and colour. My work embodies my spirit and personality [and] my goal is to allow you to experience the image with your own mind’s eye.” The result of this approach is highly individual painting, rich in colour, abstract – sometimes surreal – in nature, which are by turns wonderful primal and, despite their abstract nature, very natural.

La Maison d’Aneli: JudiLynn India

This latter aspect is though the layering of colour to which JudiLynn refers, and the colours themselves, offering a rich foundation of what might be called earth colours – greens, blues, browns, which are overlaid and blended with bright, vibrant yellow, oranges, red, golds and more, to create images that can be so richly interpreted by the imagination.

Facing Judilynn’s exhibit is that by Aneli Abeyanti. Fully embracing geometry in their form and motion (most of the pieces are animated), these are glorious pieces of modern abstract art, mesmerising in form and movement. A small display, true – just seven pieces; but one not to be missed.

Maison d’Aneli: Aneli Abeyanti

Between the two, and to one side is Detoxomania an immersive 3D art piece of abstract form by Senka Beck and 9Volt Borkotron. In terms of colour, this is again a primal installation in may respect, the colours and motion within it intended to illicit an emotional response. It’s also ethereally tactile. Moving (or camming) through it, it is as if the various elements can be felt as one passes them.

“It isn’t about substance abuse,” Senka explains of the piece, which might be seen as a surreal landscape, “but about the mania of interpreting our lives in terms of toxicity. Toxic people, toxic relationships, toxic environments, toxic thoughts … Please enter, reflect and detoxify if you may.” To aid those wishing to do so are places within the installation to sit and contemplate.

Maison d’Aneli: Senka Beck and 9Volt Borkotron

Born in Porto Alegre, Brazil, Cullum Writer found her artistic inspiration through Second Life. From in-world snapshots, her expressionism has grown to encompass fractals, collages, and digital art with a defined geometric foundation. She presents some 14 pieces at La Maison d’Aneli on the lower floor of the exhibition space. All of them are abstract in nature and exceptional at capturing the eye. Some appear to be traditional painting in form, others more digital in origin, with a stylistic flow from left to right as you face her display area.

Also on the lower level, and standing quite aside from the more abstract exhibitions Is a small monochrome exhibition of Megan Prumier’s always evocative avatar studies.

La Maison d’Aneli: Megan Prumier

Overall, an interesting, eclectic selection of art across five exhibitions.

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The poet and the Prince of Denmark in Second Life

La Maison d’Aneli – Nino Vichon: Hamlet 5 Scenes

Opening on Thursday, March 15th at La Maison d’Aneli, curated by Aneli Abeyante, are two new exhibitions by three well-known Second Life artists: one by Nino Vichon, and the second by Tutsy Navarathna and JadeYu Fang. They are two very different exhibitions, but they are drawn together through each of them having literary foundations. Both are reached via an initial arrival point, and can be reached via either the teleport disks or by clicking on the artist’s names on the main board (which will also deliver note cards). There’s also a direct drop down to one of the installations.

In Hamlet 5 Scenes, Nino Vichon presents his interpretation of five Shakespeare’s Hamlet, Prince of Denmark. As Nino points out in his opening notes, we know of three versions of the play have survived through to modern times: the 1623 First Folio edition, considered to be the “definitive” version of the play; and the “First Quarto” (1603, aka “Hamlet Q1”) and “Second Quarto” (1604, aka “Hamlet Q2”).

La Maison d’Aneli – Nino Vichon: Hamlet 5 Scenes

The former of these two Quartos is now widely regarded as the “bad Quarto”, possibly written by an actor who participated in a production of Hamlet. While the Second Quarto is now regarded as an attempt by Shakespeare to published the “full” version of the play (it is some 1600 lines longer than the First Quarto) to set the record straight. In support of this, historian point to the title page of the Second Quarto stating that it is “Newly imprinted and enlarged to almost as much againe as it was, according to the true and perfect coppie.”

For his part, Nino takes these three versions as the leaping-off point for imaging Shakespeare within his study, struggling over the play, writing and revising it. For the purposes of the piece, we are Shakespeare, invited to take a seat – in turn – in each of the five chairs ranged around a central table. Each chair represents a specific element of the play, which we see through the playwright’s eyes, as it were, as he contemplates each.

La Maison d’Aneli – Nino Vichon: Hamlet 5 Scenes

For this to work. make sure your camera is not free-flying when sitting in a chair (hit ESC before sitting in each one). This will allow the act of sitting to take control of your camera and focus it on each scene. The chairs should be occupied in numerical order (each has a number visible on its upholstery), so that the scenes can be seen chronologically in reference to the play.

These scenes start with the sightings of the ghost of Hamlet’s father which set the events of the tragedy in motion, and conclude with Hamlet’s encounter with the skull of a jester he knew in his childhood (“Alas, poor Yorick. I knew him, Horatio: a fellow of infinite jest, of most excellent fancy; he hath borne me on his back a thousand times.” Between there sit the famous soliloquy, the murder of Polonius and the death of Ophelia. Modelled in 3D , using a mix of mesh and particles to achieve their effect, each offers unique view on the aspects of the play it represents, while the liner notes accompanying the installation offer further context, should it be needed.

La Maison d’Aneli: Tutsy Navarathna and JadeYu Fang – Bring Me Your love

For Bring Me Your Love, Tutsy and JadeYu present a tribute to the German-American poet, novelist, and short story writer Henry Charles Bukowski (born Heinrich Karl Bukowski; August 16th, 1920 – March 9th, 1994). The title of the installation is taken from Bukowski’s 1983 short story of the same name, illustrated by Robert Crumb.

This installation brings together images taken from around Second Life together with quotes from Bukowski and excerpts from his writing – poetry and stories. Blunt, at times aggressive in his use of language, Bukowski was forthright in his writings and views, and this is very much reflected in this installation, which is presented as a single piece – art and quotes making up walls and floors. To one side there is an area set aside for sitting and contemplation, complete with a  television set playing a loop of clips of television shows and films for the later decades of Bukoski’s life.  This area is also home to what might be regarded as the bric-a-brac of Bukowski’s life.

La Maison d’Aneli: Tutsy Navarathna and JadeYu Fang – Bring Me Your love

As noted above, these are two very different exhibitions, drawn together through each of them having a literary foundation. Each is individually fascinating, their core subject matter being very different, thus they make an ideal complimentary visit.

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