Titled Escena 3 – El Miedo (The Fear), it’s there from 28 November to 11 December, and is subtitled: “The exception does not negate the rule, but it does subtract from it”.
This is huge in scale – you can see my avatar in the bottom shot and the one on the right. It never ceases to amaze me how in a virtual world you can have a sense of scale – it’s all virtual, nothing has any physical size, yet it feels big. The juxtaposition of different sized figures increases the effect. The modelling and detail is very effectively done – the toes that grip the floor, hands that hold the tower, the eyes that are dropped to look. There is a balance and pose that captures human life and pose in the still moment. Tonally it works, with an emphasis on yellows and browns.
The second was Bryn Oh’s The Gathering. She put a callout for voluteers to test the experiences, issues around which were solved and everything was then ready to roll. It’s Bryn being expansive, loose and playful, and it’s the style I prefer. There are elements from her previous exhibitions, including wall-walking, but they are brought together imaginatively with the new work. The giant balls are a new element, great fun, and I’m not going to say anything more than that – find out for yourself!
The giant balls roll down a deep, misty valley, and to the sides are rooms. There’s one with the chapel, another with paintings. Both play with light – or to put it another way, they are set up for you to play with light. I’ve talked before about my ambivalent attitude to wall art in Second Life (even my own). Here, the addition of light and projection builds in interaction, and bases the work in luminance rather than relying on importing pigment into a light-painted world.
Another frequent aspect of Bryn’s work is a story. Here it is a part of the whole, a simple narrative built in a rising column, whimsical (maybe a little twee) but I liked the loose pen and ink work, which in view is more effective on the imprecisely formed frames. The titles are arranged in different places, and the vignettes encourage subtitles (or maybe that’s just my irreverence). The arrangement up stairways creates a good reveal, and the final ball at the top that you touch to get back has interesting consequences.