Just outside the door on the second floor of the Home o’ Fibs holding part of the Kollage Kid exhibit is found more collages from Julie Sadler, who I befriended several years ago. This would be within the Norum Gallery, set up last year in Pietmond. I must study her influential Collage Clearinghouse Blog more for certain. We have moved up a step in complexity… the humor has largely drained away, leaving us less obvious meanings. A sentimental past peeks through each piece; one must contemplate longer and deeper. You be the judge.
“Gates and Fences”
“Females in Keyland”
In the “Baker Bloch in England” exhibit next door at the TILE Towers, humor has returned, often of a quite silly variety, like Baker Bloch feeling for rain in a huge hole in a chosen English “home” for his Second Life family of avatars. For Baker Bloch truly visited England in Spring 2010, staying in a total of at least three different locations in Wiltshire County over a month’s period. Mouse over the exhibit pictures in succession to glean more of the story.
We have also returned to the land of simple collages, mainly of a one image atop another, dissimilar or heterogeneous image variety. This is how the “visit” actually occurred: a collage of Second Life and Real Life images together to make a new whole, hopefully. I like the exhibit quite a lot; it’s a little different from anything else in Pietmond.
Moving on up the row of structures on this side of Pietmond, we next have the still uncompleted Blue Feather Gallery. At this point, I’m thinking about scraping the latest incarnation of the “Jeogeot through Art and Word” within (another, “different” exhibit) and inserting something else here. Perhaps a guest artist known in Second Life itself?
Part of the latest wave of seeming Jeogeot degeneration: the closing of the long established Park Galleries.
Pietmond Heights gives the appearance of a potential, separate tiny community within Pietmond itself, and in the second iteration of Pietmond, it represents its oldest part. Besides the “old” town hall (perhaps originally just the town hall of Pietmond Heights), structures within now include “Yippie TILE One On,” with Edna Million photos within…
… and “Cherry And/Or Berry”, containing collage images of Kenneth Rougeau also first seen in classic 2010-2011 Pietmond. Kenneth is still a developing artist, and I don’t think we’ve seen the best from him yet. The Alice series is a classic for sure, but it’s an early inspiration. In contrast to Julie Sadler and probably Kollage Kid, I’d put Mr. Rougeau in my class of artist, one either still developing (him) or one that understands the limits of his development (me).
So with that let’s move through one last picture of Pietmond Heights and its mysterious 1 prim rocketship…
… to the 75 meter high Big Boy Tower, one of Pietmond’s several empty structures or “eyecandy” constructs…
… to an overhead picture of what I’m calling Syncher’s Row, We’re now on the southwest side of Pietmond opposite the Norum Gallery/TILE Towers/Blue Feather Gallery complex in terms of the overall community. 3 galleries are found on this Row: SoSo West, SoSo East, and the Gallery in the Rocks, all exhibiting works by so-called Golden Age syncers, of which I am one along with Mike Casey and Stegokitty. Dr. Casey specializes in abstract digital art and not necessarily collage; Stegokitty is another very promising artist who doesn’t really have the time to focus on it as much as he would like. His primary emphasis is currently photography, but he’d like to create more collages. Which leaves SoSo East and my own works, all of a collage nature and from one collection of 100 collages called the Art 10×10 or just the 10×10. How do these works relate to other Pietmond art?
Well, first off I do not consider myself a dye in the wool traditional artist. I do not labor each day at a worktable attempting to find the right image cut out from a magazine or other source to put atop other, similarly found images. The Art 10×10 draws more, in many ways, from another, “writing” 10×10 that immediately preceded it (and of less success, I believe). I do not worry as much as most other artists about legality of images, and this stems from my synchronicity background and the necessity to cut across or intrude upon boundaries for the seeming sake of a greater, more wholistic good.
Syncher’s Row is composed of synchronicity artists who are most related to me…
… which seems to bring us back to the Big E, here seen from a high window in the Big Boy tower.