Tag: Scylla Rhiadra

I have said it before, and I will doubtless say it again: Scylla Rhiadra is one of the most gifted communicators in Second Life. Her ability to use art to convey ideas, feelings, realities and truths, and/or to expose concepts and ideas and encourage the grey stuff between the ears to fire on all available cylinders, is second to none.

In the years I’ve been covering Scylla’s work, I’ve always been utterly engaged by its depth and commentary – possibly to the extent of at times putting words in her mouth, so to speak, via the articles I’ve written here. Using her own avatar as a model, Scylla creates images of a captivating depth and style, allowing individual pieces to be appreciated purely for their artistry and framing. But when taken with her ability to observe and comment upon the human condition, they become visual essays by which she conveys her thoughts and reflections.

I have been seriously focused upon photography in Second Life since 2018. Most of my work has been avatar-centred, because I’m particularly interested in the ways in which we can represent the “human” in a digital simulacrum: how can we retain the things that reflect the complexity and uniqueness of “real life” identity – emotions, connections, our dynamic engagement with the world – in a simulation that, to varying degrees, constrains the expression of these things? – Scylla Rhiadra on her photography

Such is the case with Thou Shalt Not be Burned, a collection of her Second Life photography built around the notion of transitional moments in life – the form they might take, how they impact us and the time and how they might be looked back upon with the passage of time. Presented at Nitroglobus Roof Gallery, curated by Dido Haas, it offers a further chapter in a collection of works vivid in both their presentation as images and through their context as commentary.

The title for the piece is taken from Isaiah 43.2. In context, the verse holds much value to the subject; however, it also perhaps initially obscures it behind thoughts of a religious-themed exhibition – which this is anything but.

Life is a series of transitions. Some – the major seminal moments of change such as leaving our parents’ home to start life independently of them, or getting married or starting a new career or engaging in a new means of creative expression, and so on – are the ones we perhaps most readily identify. These events so often feel like they are the cliff-hangers, if you will, between one chapter of life and the next, and because they are so impactful of the moment, they can feel as if they are the moments of transition in life.

However, whilst these pivotal moments can have some of the greatest impact on us, the reality is life is really a continuous flow of transitions, many of them small and quiet, seemingly incidental at the time they occur: the making of a friend, a small moment of discovery, a quiet daydream. Moments which flow as a part of living such that when they occur, we may not even recognise them or the changes they invite; instead, we transition in the most subtle of ways.

I’m also interested in exploring ways of making the digital art we produce here something that is in itself a little unique — neither documentary screenshot of a “gaming” platform, nor pallid imitation of art forms (photography, painting) in real life. Can SL art become its own thing? – Scylla Rhiadra on her photography

Such is this subtlety, we are perhaps unaware of it until a conscious effort is made to look back, be it over months, years or even decades, brings with it the realisation that some of the most enduring changes in our lives originated and grew out of those chains of moments, small and quiet and completely unrecognised at the time they occur, which forge us without the heat and flame of change, and make us who we are.

Through the pieces offered within Thou Shalt Not be Burned, Scylla offers up a series of pieces in celebration of these small moments of change and the settings and surroundings in which they might occur. Perfectly framed as simple moments in time, each one carries its own brief narrative of an event, an action, the appearance of a memory – quiet transitional moments within the everyday flow of life.

Finally, I am interested in Second Life photography as a means of storytelling, which I conceive of as a dynamic and creative dialogue between “artist” and “viewer,” in a way that seeks to dissolve the boundaries that too often narrowly define those two roles. – Scylla Rhiadra on her photography

There is a richness and depth within these pieces which speaks to us. Transition is not merely the sudden eruption of a singularity around which our lifer suddenly reforms; it is a galaxy of moments, of the progression of life through experience, of growth through the most natural of events faced every day.

Once again, a truly marvellous and deeply engaging exhibition from one of Second Life’s most engaging photographic artists.

Note: Thou Shalt Not be Burned officially opens on Monday, July 20th, 2026 at 12:00 noon SLT with music by DJ Magda.

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• Nitroglobus Roof Gallery (Sunshine Homestead, rated Moderate)

Philosophy and art can make for an interesting coupling; on the one hand, philosophy can trigger an artistic response that in turn might serve to illustrate the central thesis being discussed; on the other, art triggered by a philosophical precept can go on to spur thinking and reflection which can reach beyond the original focus of both the art and / or the precept it initially illustrated.

Such is the case with Scylla Rhiadra’s Almost, a compelling series of pieces of art with accompanying textual extracts (often a common element within Scylla’s work), which opened to public display on March 20th, 2025 at Mareea Farrasco’s  IMAGO Art Galleries.

As I’ve noted in covering past exhibitions of her work, Scylla is one of the most gifted communicators in Second Life; her ability to use art to convey ideas, feelings, realities and truths, and/or to expose concepts and ideas and encourage the grey stuff between the ears to fire on all available cylinders, is second to none. Nor is she unfamiliar with building upon philosophical thinking to explore our notions of what it is to be human, to live, to move through life; in this I would point to Swerve, her exhibition from 2024 which grew out of reflections on atomism as prompted by Titus Lucretius Carus (see Scylla’s Swerve at Nitroglobus in Second Life for more).

Within Almost she takes as her seed the work of the ancient Greek philosopher Zeno of Elea – specifically one of his Paradoxes of Motion (which are perhaps the most well-known of his paradoxes), which Scylla refers to as his “Atalanta Paradox”, but which is perhaps better know as the Dichotomy Argument.

In this Zeno asks us to imagine the Greek heroine and athlete running half the distance to a finishing line, and then requires us to notionally half the remaining distance and time again, and again, and again, ad infinitum. The “logical” and mathematically “provable” corollary of this exercise is the realization that the runner will never reach her goal; she will merely get closer and closer, by smaller and smaller spatial and temporal increments.

– Scylla Rhiadra, introducing Almost

The Dichotomy Argument, together with Achilles and the Tortoise and Zeno’s Arrow Paradox are regarded as such because between them, they postulate that everything is, to all intents a purposes, motionless. Atalanta can never finish her race; Achilles can never catch the tortoise, that at any given point in its flight, the arrow is in fact standing still. Not only does this mean the races / arrow flight can never be completed – they can never actually commence – which is clearly a logical fallacy, given they can and do. This fallacy offers some interesting lines of thinking, as Scylla goes on to note:

I found the concept an interesting metaphorical approach to understanding what it means to be “human,” existing in real time and space. In some ways, we are always “almost” something or another, in part because we are always in the process of becoming — of “almost” being someone or somewhere else — and because it is a fundamental condition of human existence that we never achieve an ultimate, absolute state.

– Scylla Rhiadra, introducing Almost

Thus, within this series, Scylla presents images which explore the dichotomy created within Zeno’s paradoxes in a highly visual manner.  Each offers a complete story on the human condition within its frame, whilst simultaneously presenting the potential for much broader narratives.

In this they are like Atalanta’s race – just as they almost present a “finished” image and idea, so to do they hint at a further measure of consideration, a further line of narrative, drawing the imagination onwards towards a line of “understanding” we never quite reach as we constantly re-evaluate what we are seeing within each image as our view shifts and changes both in light of our emotional state / mental processes and in reaction to reading the text accompanying each piece.

And it is in the textual excerpts that Scylla again teases; whilst they might almost illuminate an image in terms of a single point of understanding, so do they also open doors on to new avenues – or corridors, as Scylla puts it – of thinking and reaction, which can themselves subdivide further than further the more we dwell on what the text might say / mean and what might have motivated its selection.

This makes Almost wonderfully subjective – perhaps “personal” might be a better term; there is no single “given” within any single image or its text. Instead there are layers of potential that might be peeled away as each piece and its companion words are examined and considered, very much informed by the feelings and thoughts we bring to them as much as by the scenes they capture. A magnificent and deeply engaging series rich in interpretation from one of Second Life’s most engaging photographic artists.

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• IMAGO Art Galleries (Androviel, rated Moderate)

In January 2024, Scylla Rhiadra presented an exhibition entitled Containers at Mareea Farrasco’s IMAGOLand Art Galleries (see: Containers: an artistic voyage of expression and constraint in Second Life). It offered an examination of how spaces – be they at home or at work or somewhere between, whether public or private – can both help organise and protect us as individuals whilst also giving us the freedom to fully express who we are, whilst at the same time they can also inform, contain, and constrain us in how we reveal ourselves to the world at large – and perhaps actually to ourselves as well.

Now, at HeArt and Soul Gallery, operated by Tom Willis and Lizzy Swordthain, she offers an exhibition of work which can be considered a further chapter on the theme, offering an alternative perspective. In Presence Scylla does not look and the manner in which the spaces we occupy and move through affect us – but how we impact the spaces and places through which we move, oftentimes long after we have departed.

We all leave a mark on the places we move through, and on life as a whole. The size of that mark obviously varies from the celebrated statesperson or global celebrity down through the favourite uncle or teacher from school; but our mark is undeniable:

We are presences even in those places where we are not, by virtue of our actual absence: we leave a trace embedded in what did not happen: the somethings we might have said that remain unspoken, or the somethings that might have been done that we were not present to do.

– Scylla Rhiandra, Presence, February 2024

As with Containers, the images Scylla supplies are studies in composition and narrative. Each holds a story, or at least a vignette which is clearly discernible. In addition, each image is again accompanied by a board containing a considered quotes from a piece of literature designed to further illustrate the image itself; and like those found in Containers, it is hard not to feel these selections offer insight into Scylla – and allow her to leave a further little “her shaped” hole in use which accompanies the one created by each picture. Certainly, I again felt that distant kinship with her purely through the pieces and authors she has selected.

Also like Containers, the collection making up Presence are layer in potential meaning and subtext. There is the meaning offer through the title of each piece, the reflection of that title and meaning through the selected text, the framing of the theme used to express the ide; all of which are expected. But then there are the more subtle aspects: those which lie in the way in which each piece chimes with us personally, the memories and thoughts conjured – perhaps most of all by the people who have touched our lives but who have now moved on in one way or another, only to leave one of those small holes in our thoughts and memories.

Another beautifully poignant and expressive series of Scylla.

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• HeArt and Soul Gallery (Durdanex, rated Moderate)

There is something oddly serendipitous (or at least, curiously reflective) in receiving and invitation from Mareea Farrasco to attend a new exhibition of art by Scylla Rhiadra, which opened on January 5th, 2024 at her IMAGOLand Art Galleries. I say this because Containers in some ways encapsulates a subject of which I’ve been very much focused upon in my physical world for the last few months as a project to completely refurbish the house insides and out continues: the Ying / Yang relationship between who we are in life, and the spaces we inhabit.

As Scylla notes in her introduction to the exhibition, the spaces we occupy, be they at home or at work or somewhere between, whether public or private, can both help organise and protect us as individuals whilst also giving us the freedom to fully express who we are, whilst at the same time they can also inform, contain, and constrain us in how we reveal ourselves to the world at large – and perhaps actually to ourselves as well.

At a metaphysical level, no-one is truly an “individual”; we are all (and here, having raised the subject of metaphysics, I’m going to horribly mangle perdurantism and endurantism, simply because the “truth” likely encompasses elements of both even though they are treated as rivals) all collections of experiences and reactions, and of growth and change through time and events.

Perhaps the easiest way to explain this is to take an obvious set of examples: how we project ourselves at work is not how we project ourselves at home; how we face the world when attending a religious service is not the same as when we are joining with like-minded supporters at a sporting event; how we behave within a crowd is generally not the same as when socialising with a smaller, closer group of friends. Of course, how we project ourselves in each of these circumstances is in part the result of accepted social frameworks – when at work, it is expected that we are “professional”; when attending a place of worship, we are expected to exhibit some degree of piety; and so on.

However, it cannot be denied that how we slip between these different personas is also driven by the spaces we have created in order to engage in these activities. For example, a building of worship both naturally constrains our behaviour even before we have entered it; the structure itself demands a more pious behaviour as we approach it; similarly, entering a place of work requires we become “professional” in outlook and attitude. Even at home, the spaces we build so easily inform us as much as we have sought to inform them through the choices we have made in terms of our choices in their décor, the placement of furniture within them, and the “rules” society has placed around them.

This is where Containers stuck that serendipitous / reflective cord within me. For the last few months I’ve been very engaged in a complete re-vamp of the place where I both live and work within the physical world; the work is far from over (and in places hasn’t entirely gone as planned!) but it encompasses everything from general room redecoration through the complete refurbishment of entire rooms – including the remove of walls, the shifting of doorways, the use of lighting, and much more.

Throughout all of it, I’ve become increasingly aware of that Ying/Ying nature in how we express ourselves at home through the décor we chose for the rooms, etc., and how the rooms actually shape – and go as far as to confine our thinking in terms of how we can / should express ourselves through them. That awareness has actually done a lot to alter thinking on how some of the rooms in the house should actually be refurbished such that their use need not be so constrained by convention or how it impacts upon thinking.

Within Containers, and with a lot more subtlety that I’ve used here, Scylla explores the idea of how rooms both express and constrain, not only using images but – as is becoming her trademark – through the use of considered quotes (which also, perhaps, reveal more about her – they certainly further encourage a sense of kinship I hold towards her (and which itself is rooted in multiple facets of her personality she has expressed both through SL and other mediums we share). Together, each image and its accompanying text offer a rich, contemplative exploration of our relationship with the spaces / structures we create (an exploration in which doorways and windows play as much a role as the rooms themselves, offering as they do both suggestions of escape and (as I noted somewhat differently above) the coming constrains a space might try to impose.

Whether drawing us together or as a means to provide separation (be it “personal space” or in some other form), the rooms and spaces  – the containers – we create have a power to be an extension of who we are, both in terms of the freedoms of expression they allow and the constraints they demand.

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• IMAGOLand Art Galleries (Rising Phoenix, rated Moderate)

Currently open at Carelyna’s ARTCARE Gallery is Second Life is another exploration of the human condition through art by Scylla Rhiadra. Scylla is an artist who has a reputation for getting the grey squishy stuff located within the upper portion of our skulls firing on all cylinders – and for that very reason, I always enjoy spending time within her exhibitions, even if it does mean the four cylinders of my own little brain have to work overtime….

Geometries of the Human is a deftly layered collection of images, thoughts, quotes and themes which offer the visitor opportunities to consider the exhibition along several parallel – and overlapping – lines. The most visual of these themes / lines is the relationship between art and geometry – the latter being perhaps one of the most important (and certainly one of the oldest) branches of mathematics. It is one which has and does hold influence over many aspects of our lives, as Scylla points out in her introductory notes for the exhibition: it has applications in the majority of the sciences (including other branches of mathematics), in architecture, design, and – of course – art. Thanks to the Fibonacci sequence, it is also very present in the natural world.

It is geometry which so often gives art its form. Perhaps the most obvious influences here are those of ratio and proportion – the former notably through the use of the Golden Ratio / Fibonacci sequence, the latter most famously embodied within da Vinci’s Vitruvian Man, which brilliantly brings together mathematics and anatomical science and combines them with art (both classicism, and naturalism). Both individually and jointly, ratio and proportion can do much to give a sense of depth and / or sense of balance which more readily give pieces that have an intrinsic  – if indefinable – appeal.

Geometry therefore helps gives structure to art – much as it does the worlds, the very cosmos, around us. However, the fact that it does can actually be a limitation, particularly through slavish adherence. The rule of thirds, for example, and clearly a geometrical imposition, is intended to offer a rule of thumb within the visual arts; yet all too often it is taken as an immutable rule, any violation of which lessens the finished work – potentially to the point where it should not be considered art. Whilst the first of these views might (to a point, again it depends on the artist’s overall goal) be seen as “true”, the latter most certainly is not.

Thus, within the pieces – and their accompanying descriptions – Scylla presents an engaging exploration of the relationship of geometry and art which is both a celebration of the beauty their interaction can create, and a questioning of the enforced rigidity and limitations they can place on art through consideration of the aesthetics of geometry alone when composing an image, painting or drawing. This leads directly into a wider  context of the exhibition: a questioning of perspectives and – and this is purely my term, not Scylla’s – slavish adherence to doctrines.

At the end of the day, geometry is purely a tool or tool set – an undeniably useful one which has allowed humanity to evolve in terms of knowledge, technology, science and understanding. But like any tool or tool set, it is not all-encompassing; like much in science, it is far from static. Whilst it is perhaps the most widely recognised, Euclidean geometry is far from alone, and since the 1800s in particular, differential geometry (through the likes of the Theorema Egregium and Riemannian geometry), together with computational and discrete geometry, play key roles in our understanding of the cosmos and science (even general relativity is underpinned by non-Euclidean geometry), and can lend themselves to art. Ergo, allowing oneself to be constrained by a specific set of rules or concepts is perhaps not the best position to take.

This is as fundamental a truth in life as it is in science (and art). We are not uniform creatures; each of us is more than shape or form or colour; we have folds and volume (depth). We might all be the result of the same biological processes, but none of us is mass produced; we are all truly unique. And it is in our differences to one another – however those differences might be manifested – that we are perhaps the most precious, because it is through the understanding – and acceptance – of what makes us different which can lead to the best understanding of one another.

For me, this is aptly stated within What Would You Be without Me?, together with the accompanying quote attributed to Dürer alongside it. Yes, an understanding of geometry and its attendant use of ratio and proportion clear enhance the artist’s work – but it is still the subject of that work which should be central to it. Without such a focus, the work is diminished, emptied; the use of geometry pointless. Similarly, if we are unwilling to accept others can have outlooks on life different to our own, and instead seek to ostracism and “other” them simply because of they are “different”,  then we diminish ourselves as well, becoming – if I might mangle Shakespeare here somewhat: a walking shadow, a poor player that struts and frets his hour upon the stage … full of sound and fury, signifying nothing.

Having a belief system or guidelines is not a bad thing – again, without our understanding of geometry, the world we’ve created and our understanding of it and the cosmos in which it sits, would potentially be a very different place. But to quote Scylla – too strong a faith in anything is dangerous. It can blind us to the beauty of creativity and artistic freedoms – and rob us of understanding and wisdom that might be vital to our future existence.

As I noted towards the start of this piece Geometries of the Human is a deftly and deeply layered exhibition, one in which both art and the words accompanying it offer nuanced opportunities for reflection on ideas on life and expression great and small. In its viewing, it is not so much an exhibition which should been seem so much as absorbed – and it is obviously thoroughly recommended to anyone who appreciates art with a message (and a conscience).

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• ArtCare Gallery (Emotion, rated Moderate)