Tag: Milly Sharple

Timamoon  Arts offers a peaceful and carefree environment in which to enjoy art, spend time relaxing and perhaps enjoy a dance or two. There are a number of gallery paces spread across the region, together with ruins to be explored, a coffee-house, aviary, woodlands, a hilltop house and more.

The galleries offer works by a number of artists, notably those belonging to the Gualdo Group, which encompasses some very well-known names: Kylie Sabra, Nino Vichan, Kaly Iali, La Baroque… all of whom make Timamoon an ideal destination for those with a passion for art, be it created digitally (and within Second Life), or in the physical world, or a combination of both.

I was particularly drawn back to Timamoon to view the work of two artists who are featured as a part of the current FIAT (FIne Art Tour): Milly Sharple (who also holds the region) and Sisse Singh.

Milly’s exhibit is entitled Fractal Insanity, and the title will likely have regular readers here know why I am drawn to it, featuring as it does more of her stunning fractal art, presented in an ultra-modern gallery space utilising a design by Steven Devoid (Devoid Aeon).

The pieces on display, both static and animated, are stunning in complexity, texture and colour. Given that several are animated, images simply do not do them justice and they need to be seen first-hand to be fully appreciated.

As well as the fractal pieces, Milly offers a number of other digital works, all of which are equally intricate and quite marvellous to behold. Some of these are ideal as both individual pieces or as part of large grouping  – such as her “Petal” series, which I found myself particularly drawn towards.

With abstract pieces vying with more “traditional” mandelbrot inspired pieces, animated pieces offered alongside static works and an amazing display of digital pieces, Fractal Insanity is a captivating visit; one which is liable to have you admiring and dallying for longer than you might have planned.

However, when you have completed a tour through the floors of Milly’s exhibit space, do make sure you pop across to the rotunda next door, where Sisse Singh is currently exhibiting a range of her watercolour and ink art.

A self-taught artist, Sisse finds her inspiration from a range of sources including her local physical world environment, Danish landscapes and her own imagination. The display of her work at the rotunda reflects this admirably, offering a broad and captivating cross-section of her physical world art uploaded for display in world.

The lower floor of the exhibit space presents a number of Sisse’s studies of flowers, while upstairs is a mix of abstract piece, landscapes and portraits. All of them catch and hold the attention, but I confess to finding myself particularly drawn to her portraiture during my visits. The three pieces – Awaken, Joy, and Naked Sunset, each tell a little story of their own, and really draw one into them.

I confess that prior to making my way through the FIAT exhibits, Sisse’s work had somehow escaped my attention. As such, I’m glad I have now belatedly discovered it in-world. This is a beautiful simple display of her work, more of which  – along with that of other artists in the group – can be enjoyed at the Gualdo galleries, also in the Timamoon region. So be sure to pay the galleries a visit as well.

SLurl Details

• Timamoon Arts landing point (Rated: Moderate)

Art Blue recommended I make time to see a new exhibition which has just opened at the Timamoon Gallery, and which features as it subject … fractal art. Needless to say, I was immediately curious, so when an unexpected free 60 minutes popped-up I hopped over to take a look.

Absence of Colour is a joint exhibit by Milly Sharple and Ranadeep. As the name suggests, this is a presentation of monochrome and greyscale fractal art by the two artists and is, I have to say, stunning; even the setting is a continuance of the overall theme, albeit it with a slight hint of colour.

Spread across three levels, the exhibition space comprises 24 large cubes arranged eight to a level in a square around a communal area. Four cubes open onto this central communal area, and are linked to the remaining four cubes by short tunnels. All of the cubes has at least one element of art displayed within it. The interiors of the cube further reflect the title of the exhibition, alternating between white and black as you walk through them.

The entire arrangement means it as possible to wander between the cubes, crossing back and forth over the communal areas, or to enter one cube and then proceed through each of them in turn to see the displayed pieces before returning to your start point. Teleporters provide the means to move between the three levels.

The central level forms the landing point. The cubes here combine pieces by Milly and Ranadeep, while the upper level is devoted to Milly’s work, and the lower to Ranadeep’s. While both artists have used similar software for their work, both employing  Apophysis (although Ranadeep also uses Ultra Fractal and Incendia), their individual styles are apparent in many of the pieces. Ranadeep’s work often features bold lines and linear forms (although not exclusively so), while Milly’s often display more cursive elements and softer lines (although again, these are not exclusive to her pieces).

That all of the pieces have been rendered in black-and-white gives them a remarkable depth; some of the images in the cubes with a black interior have a particular perspective that makes the observer feel they are looking into them, rather than at them, as if they are not pieces of two-dimensional art, but actual constructs located in front of the observer and into which one might climb – or fall. The effect is both captivating and mesmerizing. It is also, while not unexpected given the nature of the art, perhaps far more heady in impact than might be the case had the pieces been rendered in colour.

Within each cube, as well, stand figures, male and / or female, apparently studying the pieces on display. These are as much a part of the exhibit as pieces on the walls, seeming to represent each of us as we explore and study, the subtle tones, swirls and lines on their bodies reflective of the impact the art on display has on our own thinking and perception.

This is a quite stunning exhibit, in terms of both the art on display and the manner in which it is presented. It’s not often that one encounters an exhibition where the very space in which it is presented actually forms a part of the overall work, but such appears to be the case here. Even the very subtle use of colour in some of the sofa and seats and on certain walls of the cubes, carries a meaning of their own which adds to the whole.

Definitely not one to miss. Highly recommended.

Related Links

• Absence of Colour (Rated: Moderate)