What happens when you let LittleToe Bartlett loose...

Oh, I know... the Garden of NPIRL Delights is over! Get over it and move on, Bett!!

I just couldn't resist showing you what LittleToe Bartlett did once the doors had been closed and the Gardeners had picked up most of their installations.

These are ground textures... sim(s) wide.




... and she wouldn't give me whatever she was smoking...

Light Waves' statue at the Garden

June 27 Update: Seems polysilox Apogee had also discovered Light Waves' sculpture, way back on May 17th! polysilox had been photo blogging and was checking for the names of content creators for attribution when she made the discovery.

Every time I think about Light Waves, I find myself grinning. There is something about his personality that simply inhibits any other reaction. Beyond the fact that he is the creator of many, many of the creations we most admire in Second Life®, including his groundbreaking (sometimes literally!) sculptures...


This photo of Starax statues taken by Amalthea Blanc

...and the magical wand - and everything it rezzes - back in the days when he was known as Starax...




These photos by Wellington Bahram

...to the lovable Greenies at Greenies Home Rezzable when he emerged as a new avatar by the name of Light Waves...


This photo, "Bella meets the Greenies," by Bella March

...and his elegant and mysterious Black Swan sim today...



Beyond all these staggering accomplishments, it turns out that Light Waves is quite a likable dude. Yes, I don't think I'd known him but a couple of minutes before I'd called him a curmudgeon, but he always cracks me up and always keeps things in perspective. What I'm trying - badly - to say here is that, despite the fact that he is quite possibly the most revered artist and scripter on the grid, Light Waves is a grounded, earthy kind of guy. Some might (do!) call him crusty :P

Anyways... a few days before the Garden of NPIRL Delights opened to the public, I IM'ed Light Waves asking if he'd like to make us a little something for it. The next day, you can imagine the extreme rush of pleasure and excitement I felt when there was an inventory offering from him waiting for me called simply "Something for the Garden."

Did I have to go to a sandbox just in case it was very large, I wondered? I couldn't wait. I rushed to my inventory and rezzed it - quite breathlessly - to the ground... and waited what seemed like an infinite number of seconds for it to rez... Later, Light Waves told me he had wondered if I was going to laugh or cry when I saw it, LOL.




I guess I did a little of both... the crying and laughing, I mean. I know that Light Waves is very busy these days, so I was astonished to receive anything at all. But this little naughty gnome! Taking a tinkle on our Garden, no less! Harrumph!

Fact is, I'd give my right arm to be able to make anything as well done as this just once... and to think that he made this simply as a joke. What a talent!

My brewing mind quickly came up with a plan: I'd extend the joke to everyone who visited the Garden. Knowing that I'd be taking a break from Second Life for several weeks, I shared the news of the gnome with the very talented Nectere Niven and entrusted her with it, asking that she move it around, if necessary, to keep people looking for the famous "Light Waves" sculpture. She did better than that. She rezzed it in plain view and even created a little park-like setting around him.



Later, I added a few of artoo Magneto's surreal 3D trees...



... and there he sat, for the duration of the Garden. The only person I know who found him was Selavy Oh.

Hehe... and so it goes.

Light Waves' sculpture for the Garden

Update - Hint #2: It is a wee bit naughty.

Update - Hint #1: It is busy.

You still haven't found it, have you? :D

It's in plain view! Hehe.

Aiyas Aya's mountain

Canadian artist Aiyas Aya's (aka Christopher Postill) installation, "Upward Race to the Bottom," at the Garden of NPIRL Delights has always had something missing... until today that is. Aiyas, this one's for you! On the spur of the moment a slew of volunteers TP'ed in and we made it happen!


Not one pose-ball in sight! Click to see large

Aiyas describes his installation as follows: "The aim of this piece is to incorporate audience avatars as an integral part of a sculptural form. I am creating sculpture using the avatars of participants; the piece requires interaction in order to be completed. This user interaction slowly brings together a rough narrative experience as more and more viewers participate.

When properly filled, the piece becomes a wreathing mass of avatar bodies all reaching upward, stuck in a perpetual state of competition. A literal mountain of bodies all supporting eachother but fighting for the summit at the same time. Without participants, the piece is a simple terraformed mountain, but as more audience members sit on the 'pose-balls', the piece transforms into a tableau of never-ending struggle toward the top."


This photo by Gary Kohime caught us in the initial attempt

Participants include (sorry if I didn't catch your name!):
Amyrlin Sewell - Aurakyo Insoo - Avi Arrow - Bettina Tizzy - Bryn Oh - Cocoanut Koala - Dannie Fargis - Decoy Nagy - Economic Mip - Elina Radek - Ella Quinsette - Emuishere Boa - Gary Kohime - Glyph Graves - Gypsy Paz - Izikael Novi - Julia Hathor - Keenan Yengawa - Krystalheart Oh - LittleToe Bartlett - Lumiere Noir - Maraschino Susa - Mordechai Laasonen - Rena Mascot - Rikard Bashly - TheDove Rhode - Tryptofaa Sands


We had to struggle to get in! This photo by fellow Garden artist Gary Kohime

Thank you, everyone! More photos can be seen here and here.


Some days ago, Quadrapop Tree captured another bodacious attempt to fill the mountain!

Garden freebies to die for... and yes, you have to go to heaven or hell for 'em

UPDATE - June 24, 2008: The Garden of NPIRL Delights has closed. Thanks to everyone who created it and to those who visited it, and special thanks to RightasRain Rimbaud and his team at Rezzable Productions for sponsoring it.

The Garden of NPIRL Delights will end on June 23rd, and several of the very gifted content creators have decided that their work should not disappear. Just look at what they are giving away! Hurry hurry!


DB Bailey's Purgatorio (Take everything home!) - slurl
Photograph by Ka Rasmuson


Eladrienne Laval & Kheph777 Enoch's Tower of Industrial Judgement (Steampunk Bosch Wings) - slurl
Photograph by Alpha Auer


Tezcatlipoca Bisiani's Laberinto de Mictlan (You get the prize - the puzzle box and the postcard!) - slurl


Bryn Oh's Steamgarden (Several items from her build! If you put the structure on your land, send her an IM and she will come and place the beetle and the carousel on it) - slurl


four Yip's Elevator Angels (everything! - touch the panels at the entrance to choose) - slurl
Photograph by Azwaldo Villota


Alpha Auer's The NPIRL Garden of Delights Public Baths- (Her monochromatic and health-inducing jellyfish!) slurl


Madcow Cosmos' Heterotroph (avatars) - slurl


Yoa Ogee's Happy Humans! (avatars) - slurl


Yeti Bing's Perfect Universal Companionship (avatar) - slurl
This video by Crap Mariner


Gore Suntzu's "Tame a Thorn" sculpture : (This beauty could be yours!) - slurl

These are a few of my favorite things...

The Garden of NPIRL Delights - generously sponsored by Rezzable Productions - is almost over... *sobs* The last day is June 23. There are so many little and big things that I am going to miss.

Collaboration is a powerful thing, and dozens of people made enormous contributions that few people are aware of.

One day before the Garden opened, Ravenelle Zugzwang and Soror Nishi helped me landscape it with their exquisite trees and sculptures.


Ravenelle's sculptures range from surreal to breathtakingly beautiful, and they lift the landscape here and there


This photo of one of the many colorful and dreamy trees by soror Nishi by Neon Hammerer

Minutes before the Garden opened to the public, artoo Magneto sent over his phenomenal 3D trees, and elros Tumominen helped me install a few of his flaming sculptures.



I hope Glyph Graves will participate in any project I take on. His flowers! His willingness to work with others!



The Garden is closing... sigh.

Go to your happy place, courtesy of Yoa Ogee

Yoa Ogee always takes me to my happy place. And that is precisely the reaction he is after. You see, Yoa founded and heads up the organization World's Greatest Smile.

Yoa Ogee: Peace is what I have been most interested in all my life. The World's Greatest Smile is an international peace project dedicated to friendly communication, and is supported by 14 Nobel Laureates, as well as many other people from 131 countries. The goal is to motivate people to communicate in a more friendly and effective way and to give them the resources to do so. We develop games for children, too, to teach them teamwork in a playful way.

So committed is he to this goal, that 100% of the proceeds from the sales of all his fantastic avatars goes directly into the coffers of this organization.

For the Garden of NPIRL Delights, Yoa created an installation he calls Happy Humans!


Yoa's birds have strong feet

Yoa Ogee: It is a big birdhouse... and all the birds in and around the house have only one thing in mind: “Oh, the human rights are so great, it must be wonderful to be a human... it is our mission to tell everybody more about that! Sooooo happy humans...!“


These birds perch in most unusual places


Aviation school

Yoa Ogee: The birds must be prepared for this mission, so they have a newbie/newbird area in the house. There the young birds can learn more about the human rights. And, of course, an aviation school, a few nests with baby birds and more...


Be happy!

Don't forget to pick up the three freebie avatars at this installation, too (teleport directly from here).

Toast in Limbo

A late entry by Zora Spoonhammer - also known for her spectacular Sculpty Earth - to the Garden of NPIRL Delights, asks: "When toast falls to the floor it exists in a special limbo for five seconds where any fate is possible. Will it succumb to evil and become wasted food at six seconds or become a heavenly snack before then? For those five seconds, it exists here, in this limbo of toast."

Elevator Angels

Alpha Auer is becoming a regular and very welcome blogger here, as she continues to explore the Garden of NPIRL Delights and relate what she sees there. Alpha's eye is an educated one. She is both a professor in graphic design and art/computer science, as well as a PhD candidate. She is also the creator of a favorite sim of mine: Syncretia.


by Alpha Auer (aka Elif Ayiter)

Setting out to create an artwork composed almost entirely of floral patterns is a challenge: just one step too far, one petal too many, one color off-sync and you rush past terms such as "pastoral" and "romantic," and end up in that most dreaded of all artistic wastelands... the land of "cute." The word "beautiful" has also become a “no” word, as has the word "soft." True, there are a number of highly acclaimed women's gender art pieces out there that use objects associated with the feminine, such as floral patterns, fabrics and the like, in order to adopt a critical stance vis a vis gender imposed roles and society.



four Yip's installation, Elevator Angels (teleport directly from here), is remarkable in that she has not shied away from what is beautiful, soft, romantic and feminine. And furthermore she has not attached any socially critical implications to these either. They proclaim to be exactly what they are, and are proud to stand in their own right. Lush overlays of flowers encircle a wonderful tree hung with avatar photographs.



That tree immediately reminded me of a thing called the wish tree that exists in many cultures, including mine... or used to exist anyway... all replaced by Tarot parlors and Reiki outlets residing in suburban Istanbul shopping malls these days, I’m afraid. Essentially, this was a tree upon which you would hang a picture of the thing that was your heart’s desire and then it was believed that your desire would materialize.



When I spoke to four (who incidentally, is every bit as delightful as her work is) I mentioned the “wish tree” to her. Much as she liked the idea it was new to her. She told me that her tree was actually an avatar family tree: you hang your picture there to join an avatar family line. Somehow the “wish tree” and this idea of creating an avatar genealogy have ended up converging in my mind. After all, isn’t our biggest wish in Second Life just that? To become part of an avatar family?

Elevator Angels reminds me of William Morris’ investigations in textile design. His bewilderingly complex formations of flowers upon flowers also found reflection in the paintings of the Pre-Raphaelite Brotherhood, particularly those by Morris himself and Dante Gabriel Rosetti. Now, it may not be terribly fashionable to say this but I am increasingly drawn to the Arts and Crafts Movement and the Pre-Raphaelites in recent years. There is something to be said about nature and beauty and I do not think that we have the nerve to say it quite in the same way that Morris and his friends said it back then. They seem to be the last ones who have pulled it off, too... that adulation of beauty, of natural form.

And now along comes Second Life®, ebullient with flowers. A very good sign this, I would say… However, sadly one is also compelled to add that all too often Second Life flowers don't manage to stay on the right side of the fence between what is “artistic” and what is “cute,” unlike four Yip’s installation which stays firmly planted on the side that William Morris seems to have also resided on: she stays there through the grace of elegance; through warm, soft, loving narrative manifest in deep, multi-faceted metaphors, and ultimately through a beauty that rests itself upon strong visual principles such as color harmonies, balance, focus, direction and motion.

Inside the mind of Crap Mariner: At the Garden

Crap Mariner cracks me up. As GoSpeed Racer said recently, "He is a true comic genius with a flare for the bizarre, the weird, and the obscure. Crap can tell a story with as little as one picture."

Crap has his own installation at the Garden of NPIRL Delights, but he has devoted more time to exploring the Garden and seeing what others had done there than anyone else I know. Here are just a few of the many, many videos that Crap has created. I suggest you pull up a chair, and take a tour through his stream for a glimpse into this man's head, and the Garden, too!

Truthseeker Young's "The Singularapture is Near"

by Alpha Auer (aka Elif Ayiter)


I liked this tremendously the first time that I saw it and every time I revisit it seems to grow on me more, takes me further and deeper into a story and what is even more a truly remarkable ambience. I just stand there and watch and listen.



The sound effects of The Singularapture is Near are possibly amongst the subtlest and most accomplished I have yet heard in Second Life®. It is astounding how the random grinds and creaks in conjunction with natural sounds such as those of crickets, add to what to me seems to be the most powerful feature of the piece: its integration with the terrain. I would almost tend to see Truthseeker Young's " installation in the category of land(scape) art, so closely connected is the piece to the land that it has been rezzed upon.

One of the big challenges of building in Second Life is integrating what you create with the earth that it stands upon, mostly because of the absence of shadows but also because of the very structural nature of Second Life’s terrain. In fact, outside of AM Radio’s wheat field, The Far Away, I do not really recall seeing anything else out there (my own abysmal ineptitude in this regard is duly noted) that has managed to accomplish this feat quite so dramatically.



The "organic matter" that makes up the bulk of the piece has been (deliberately) constructed out of highly inorganic content, but nonetheless manages to clutch onto its little hill so fiercely that you not only hear the grinding of its roots but almost see them digging in as you stand there and watch.

And then, of course, comes the central lightning tower/tree that is connected to the peripheral husks through huge metallic worms that really seem to slither atop the virtual soil. And the husks each have their own organic/inorganic story to tell. Each one different. Nothing really moves (sure things sway, but then, so does everything else in Second Life!) but everything seems to be on the move, to be changing location and to grow in front of your very eyes. Yes, you somehow do not look at this piece - you watch it and quite carefully at that...



"The Singularapture is Near" has its own story, no doubt. But like all art that ultimately manages to draws me in, it allows me to make up my own story as well. I love it and I would recommend it to anyone who has not yet seen it or been near it to go go go before it is too late.

Teleport directly to The Singularapture is Near from here.

The Garden

UPDATE (June 24, 2008) - After a spectacular two month run, the Garden of NPIRL Delights - produced by Not Possible in Real Life and sponsored by Rezzable Productions - has ended. Thank you to everyone who made it possible and to all who enjoyed it.


by Alpha Auer (aka Elif Ayiter)

I have been taking walks around the four sims that constitute the Garden of NPIRL Delights, and as I have been looking at the displayed art work it has begun to dawn upon me that Garden itself is the really important thing that is going on here. It transcends its content.



What hits you the moment you land inside is the spontaneity, the gaiety, the total "joie de vivre," of the work that stands here. And the companionship: Newbie builder stands here shoulder to shoulder with seasoned veteran - no competitions, no awards. All equals in one huge playground. With a total freedom that even includes terraforming privileges! In effect, quite different from what would have been par for the course under Real Life conditions.

True, there is a theme: The Bosch triptych. One that certainly gives you plenty of rope to hang yourself with if you choose to do so. And admittedly, some of us have in fact done exactly that: I would be lying if I said that I am perfectly OK with everything that is on display in there. But conversely (and much more importantly) there are pieces in there that had me quite breathless with their energy, their imagination, their narrative ability - and above all else... their individuality. And if that utter freedom of expression had not been fostered in the first place, these art works would simply not have materialized.



And here is the divine irony (and I love it!): The Garden has achieved cohesiveness, has managed to become bigger than the sum total of its content. This is, of course, precisely the sort of thing that any curator worth his or her salt shoots for - to achieve this kind of Gestalt. Now, I do have this rather wicked theory that in quite a few curated exhibitions in Real Life, certain kinds of artistic output tend to get turned down simply because they go off too much on their own; they are too difficult to categorize and to fit within a mainframe. So, you may end up with this dreary monotony of unindividuated output in rank and file. But hey!!! Who cares? It's a strong theme, forget the individual art work please!



Bettina Tizzy has not forgotten about the individual art work. She has put the individual first, to the point where not everything on display in the Garden passes full muster when viewed with a gimlet eye. That is the chance that you take when you allow full freedom, do not set up tight boundaries, do not shoot for a particular "look" or a "concept." And, am I glad that she did take this chance... What is exquisite more than makes up for what isn't fully up to scratch. But exquisite or not - all is individuated to a truly remarkable degree: Gutsy in its individuality is the phrase that I think that I am looking for.



I think the way that the Garden pulls its manifold content together is by virtue of its landscape. I have to say that I find this landscape and the way it has been conceived of and implemented by Littletoe Bartlett nothing less than inspired. The hills are there for a good practical reason: They function very much as separators between art installations, much as walls in a Real Life gallery space would do. But there is much more going on here, in that the entire landscape transports me directly into one of my favorite worlds, the world of the late Gothic illuminated manuscript.

This is very similar to the detailed, ornate, velvety and yet touchingly naive backdrops of those medieval scenes, that can be glimpsed through narrow windows in front of which wimpled ladies exchange devotional books with chivalrous gentlemen. Didn't the Limbourg brothers paint this very landscape into all of those Books of Hours that they designed for their patron, the Duc de Berry?


The Apostles going forth to preach from Les Très Riches Heures du duc de Berry

Of course, I have no idea that this was, in fact, the effect that the landscapers of the Garden were after but this is definitely the feeling that the rich, soft ground textures (again by LittleToe Bartlett and Pavig Lok) and the hills and hillocks, all rolling into a gentle sea give me. And then comes the foliage, the trees of artoo Magneto that share the space with those of soror Nishi. The delicate touches of Ravenelle Zugzwang and Bettina herself.

All told, I am very glad to have been part of this show... to have been able to wander inside the Garden of NPIRL Delights as one of its content creators.

The birds by Nonnatus Korhonen

Photography by Kean Kelly

They are other-wordly and a bit unsettling, in a cute sort of way. They reside where giant strawberries are found. Flocks of them chase visitors, but they won't allow themselves to be caught. They are the birds by Sydney-based Nonnatus Korhonen (aka Andrew Burrell), created for the Garden of NPIRL Delights (teleport directly from here).


Kean waits for them to come to her


Kean works to establish trust in them

Kiss the Sky: Tipping point on the axis of a virtual world

2008 has already been a landmark year for art in virtual worlds. It is the year that Brooklyn is Watching gently dipped its toes in Second Life® and found itself nearly crushed by a multitude of artists and artwork. Babelswarm, the winner of the Australia Council for the Arts' Second Life arts residency, came to life. Blackthorn Hare got his Masters degree in Second Life sculpture. This year also marked the launch of Arthole, which I will write about soon, and the opening of the Kirsti Aho Museum, and one week ago, we celebrated the unveiling of our Garden, simply the largest collection - ever - of content creation that is not possible in Real Life.

Meanwhile, another show just debuted that is critical to our understanding of the unique possibilities in a 3D virtual medium, and the list of participants reads like a Who's Who of virtual abstract art. I welcome guest blogger Bjorlyn Loon, and her insightful piece on this collection.


by Bjorlyn Loon



DanCoyote Antonelli’s (aka DC Spensley) new exhibit, Kiss the Sky, is an historical document in recognition of a community of artists in Second Life. Like most of us, artists and critics are searching for new words and constructs to define their virtual experience. Says Antonelli: “Since virtual worlds are a change of venue – a drastic change of venue – the former critical language is not enough.”

Dancoyote Antonelli: "The people in this show are each like a Picasso, or like the abstract expressionists of our time. They have embraced virtual world conditions, and are representing an avant-garde within an avant-garde that is nearly incomprehensible in material-world art. Feel the history, we are living in it!

One of the reasons that Hyperformalism has not mainstreamed until now is that there are a lot of practitioners that are not communicating with each other. In Second Life Hyperformalism has found a home in that it is an indigenous art form. Hyperformal work has always existed uncomfortably in the material sphere.

While space in virtual worlds is a simulation, place can be real. In fact, art experiences are the only thing that can be real in both the virtual and material worlds at the same time.” Kiss the Sky is tiered in the air above New Media Consortium’s NMC Arts Lab (teleport directly from here), and visitors are encouraged to interact with the works, and to experience them on many levels, including sight, sound and play.

Not all of this work is brand spanking new: it is not intended to be. What is new about it is that it is all together. This is a survey, a critical milestone to mark this time in history and present the shared histories of these artists in one concentrated punch.”

In addition to work from DanCoyote Antonelli, Kiss the Sky artists include Chance Abattoir, Vlad Bjornson, nand Nerd, Selavy Oh, Adam Ramona, Nebulosus Severine, AngryBeth Shortbread, Sasun Steinbeck, Sabine Stonebender, Seifert Surface, elros Tuominen, Juria Yoshikawa, and i7o Zhu.

Antonelli has developed a new native architecture for experiencing this exhibit, which might otherwise be difficult to maneuver as a result of its massive scale. Strategically placed purple seats call up a menu where you can select from among the 35 works in the exhibit, and the seat will gently transport you to your choice. Says Antonelli, “What is important is that there is no remediated architecture here: Interface serves content. The seats take you to all the exhibits, near the sign that only opens when you are near enough to read. The signs and seats are in the same place in each exhibit, so once you get it, you have it.”

Hyperformalism is non-figurative abstraction in a hyper-medium, including abstract objects arranged in simulated space, navigable on a network, as well as expressions of reactive and interactive artwork behaviors and geometric or algorithmic pattern play in 2, 3, and 4 dimensions. Because Hyperformalist works are unique created entities that are not representational, viewer relationships are less fettered by pre-existing symbolic weight and the artworks encourage fascination with form and pure relationships. The virtual world provides the ability to liberate the work from scale constraints and provides a perfect context for this post-conceptualist movement.


Juria Yoshikawa’s creation embraces Kiss the Sky in sheer physical dimensions. "In all three of my works, as the name of the show Kiss the Sky suggested,” says Yoshikawa, “I tried to create forms to pull people in and draw them skyward. In the large piece Infinite Pixel Loop most of all, I was aiming at a reaction of immersive upward motion."


Conversely, the pulsating rock specatacle of i7o’s Zhu Name Unknown contrasts with the aerial setting of Kiss the Sky, suggesting a literal and conceptual grounding.


According to the artist, Adam Ramona’s works in Kiss The Sky “explore the audiovisual relationship between the avatar and virtual space. Sound and vision are created and modified dynamically by the avatar's movement through space, creating a real-time composition unique to that user and time.” Seen here: A Rose Heard At Dusk


Seifert Surface is directly concerned with the mathematics of 3D, which Antonelli describes as “one genre of hyperformalism.” For example, Surface’s Spore, created in 2006, “is based on a process that turns up in nature a lot: 'growing' new objects around some axis at an angle of 2pi/Phi from the previous one, where Phi is the golden ratio, (1+sqrt(5))/2.” Siefert’s Meandering Hypercube “is a projection of the hypercube from 4d to the 3d of Second Life, just as the 3d of Second Life projects to the 2d of a computer screen.”


Veteran artist Sabine Stonebender describes her KissTS – MoreAndLess as “Positive space vs. Negative space in an endless cycle,” and it is mesmerizing.


Of his Plant Deco installation, artist Vlad Bjornson says “The changing, geometric shapes of each piece are fractal and self-similar in nature, somewhat like the structure of Real Life plants. The colors of each piece were inspired by some of my favorite artists, borrowing color pallets from their works. Each piece changes to a unique configuration each time it is touched, with billions of possible combinations.”


AngryBeth Shortbread extends her Real Life art into Second Life with a strong emphasis on sound, play, and interactivity. Her Pusher-Tron is no exception.


Nand Nerd, who refers to himself as an… “Artist? I'm no artist. What would I know about art? I'm an Engineer, damnit,” has always been intrigued by Antonelli’s art. “The flexi-hedra started off as a whimsical use of the new flexible path feature,” says Nerd, “Once I'd seen the outcome I was hooked and developed a range of polyhedra to be given the same treatment.” Nerd’s Square Antiprism Tower at Kiss the Sky responds to touch in unexpected ways, which defy gravity.


Nebulosus Severine, who has been working in Second Life since 2005, produces works which she describes as “Chromotive [Chroma (color) + Emotive (drawing out or evoking emotion)].” Her Pulse Points (I, II, III) is a crystalline structure which surrounds the avatar in pulsating light.


Chance Abattoir is interested in interactivity, and brings skills in texturing, building, 3d modeling, and scripting to the artistic task. His 5.3.5(2) juxtaposes dissimilar shapes which evolve according to the angle of view, and change further, and more dramatically, upon touch. Chance elaborates, “It's not meant to convey anything other than self-reflexivity. Each part of the art refers to another part of the art.”


In the year and a half that elros Tuominen has been in Second Life, he says that he has “never stopped learning about building, scripting, textures... I feel like a child, playing with everything I find, and expressing myself freely.” Tuominen is a prolific artist, treating his friends to new poetry or sculpture every single day. For elros, Underconstruction City v.06 is a massive work, demonstrating his increasing mastery of the medium, and communicating his expanding reach towards impossibilities.


Sasun Steinbeck has been working on her Morphing Sculpture for years, perfecting it. It scintillates against a starry night sky or cloudless blue with equal impact. Like many of the works within Kiss the Sky, Steinbeck’s is configurable by the visitor, in this case via choices of texture.


Selavy Oh describes her Soft Structure as “part of a series of conceptual works exploring and utilizing inherent properties of the simulated world of Second Life. Motion of the structure is created by virtual wind, the color reflects cloud density, and the cloud-like fragility of the installation is emphasized by temporarily dispersing the elements upon avatar intrusion.”

In sum, for all their differences, the works of art in Kiss the Sky achieve Antonelli’s goal of creating a historical node. People will look back at this exhibition, with the experience of years, and see a tipping point, where, according to Antonelli, “Hyperformalists on Second Life have more in common with each other than we do with the material or conceptual art worlds.”

All photos by Bjorlyn Loon, with these exceptions: Overview: Antonelli, Infinite Pixel Loop: Yoshikawa, Morphing Sculpture: Steinbeck, A Rose Heard At Dusk: Ramona, Pulse Points (I, II, III): Severine, and Soft Sculpture: Oh.