A really super interview of me by Nazz Lane hit cyberspace yesterday: see http://laneslist.blogspot.com/2010/02/conversation-with-artist-alizarin.html
We toured my newly redesigned sky studio (come look!! http://slurl.com/secondlife/Lie/205/183/301) and talked about the art. Nazz has developed consummate skills as an interviewer, and although our conversation flowed naturally and spontaneously, I feel the interview thoroughly covered the all important aspects of my virtual art.
This was Nazz's 299th post on his blog "Lane's List: Nazz Lane's List of the ordinary and extra-ordinary people and places in the metaverse we call SL." He is a prolific prose artist, writing for many SL media and the author of a novel in-progress about Second Life titled "Borders of our lives." I am eagerly awaiting the next chapter!
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Links:
DIGITAL ART: Martha Jane Bradford
Web Site: http://www.marthavista.com/
LinkedIn: http://www.linkedin.com/
MJB Blog: http://marthajanebradford.blogspot.com/
VIRTUAL ART: Alizarin Goldflake
Second Life avatar of Martha Jane Bradford
Atelier Alizarin (Second Life studio): http://slurl.com/secondlife/Lie/222/189/35
Blog: http://alizaringoldflake.blogspot.com/
Flickr: http://www.flickr.com/photos/alizaringoldflake/
YOUTUBE VIDEOS:
Studio Tour:
http://www.youtube.com/watch?v=XDjrLmPpopA
"Metemspyche's Garden:"
http://www.youtube.com/watch?v=GfQGuNXWvLo
"The Maze:"
http://www.youtube.com/watch?v=OEa9rtEiINE
Wednesday, February 10, 2010
Monday, February 1, 2010
Marthavista News (RL)
About Hermione: from January 2008 to the present I have been working in a direction that is entirely new for me, constructing digital collages out of sections of my digital drawings using a creative approach I discovered in Second Life. The method is similar to process art in that the final image is not envisioned at the outset but emerges as a result of assembling, layering, and composing visual elements.
The physical presentation of the collages was inspired by Japanese art, specifically paintings which are displayed as hanging scrolls called kakejiku. The collages are printed in separate panels on Epson canvas with an Epson 4000 ink jet printer. The panels are varnished and then glued together to complete the image. The wall hanging is constructed with a pockets for hanging rods, and the finished art is meant tobe displayed unframed.
The digital drawings that are the source material for the wall hangings are drawn just like traditional charcoals, lithographs, or pastels except that I use digital tools, including a software program called Corel Painter 10 and a Wacom digitizing tablet and stylus. I create a file of the right size and resolution to produce the final image desired and select a paper texture, a brush-tool such as “Charcoal” or “Flat Pen,” and a color. As I draw, the tablet and stylus electronically translate the motions of my hand into virtual brush, pencil, or pen strokes which I can see on my monitor real-time. I do small, limited editions of the finished drawings using archival inks on fine art rag paper. On the splash screen of my web site (see the links below), there is a downloadable PDF that explains in detail how to do a digital drawing.
Links:
DIGITAL ART: Martha Jane Bradford
Web Site: http://www.marthavista.com/
LinkedIn: http://www.linkedin.com/ search "Martha Jane Bradford"
MJB Blog: http://marthajanebradford.blogspot.com/
VIRTUAL ART: Alizarin Goldflake
Second Life avatar of Martha Jane Bradford
Atelier Alizarin (Second Life studio): http://slurl.com/secondlife/Lie/222/189/35
Blog: http://alizaringoldflake.blogspot.com/
Flickr: http://www.flickr.com/photos/alizaringoldflake/
YOUTUBE VIDEOS:
Studio Tour:
http://www.youtube.com/watch?v=XDjrLmPpopA
"Metemspyche's Garden:"
http://www.youtube.com/watch?v=GfQGuNXWvLo
"The Maze:"
http://www.youtube.com/watch?v=OEa9rtEiINE
Sunday, January 10, 2010
The "Day For Night" Show at the Art Conservatory
A show of hanging scrolls and new digital drawings by Alizarin Goldflake will open on Saturday, January 23, at 3 pm PST in The Art Conservatory.
slurl: http://slurl.com/secondlife/Gowers/139/185/72
This is a show of many Firsts. It is the Grand Opening of The Art Conservatory at Sapphos Commons, featuring RobertSteven Smythe (of Artemisia fame) as the curator. All of Alizarin's digital drawings are seen in Second Life for the first time. And also for the first time, all of the work inside the Conservatory will be avaible in Real Life at http://wwwmarthavista.com/dayfornightshow.htm
Centerpiece of the digital drawing installation on the second floor, the "Day for Night Series" consists of scripted images that change their time of day before the viewer's eyes. These four variations on a an image are of a summer cottage overlooking a wildflower meadow, with a glimpse of the ocean in the distance. They come from a RL series of digital monoprints in which the black & white drawing is constant throughout the two dozen prints, while the color is unique to each individual print. The four scripted drawings are accompanied by a selection of four new non-scripted images.
Alizarin's hanging scrolls are on display downstairs (also outside in the park as wind-interactive banners). These scrolls represent an RL direction that is recent for the artist and uses a creative approach she discovered in Second Life. The physical presentation of the collages was inspired by Japanese art, specifically paintings which are displayed as hanging scrolls called kakejiku.
Lastly, Alizarin's popular "Metempsyche's Garden" graces the pond outside where boaters can mingle with the giant white particle drawings blowing in the SL wind. Exit from the other door and you will come across the artist's "Sunrise Sunset."
Links:
DIGITAL ART: Martha Jane Bradford
Web Site: http://www.marthavista.com/
LinkedIn: http://www.linkedin.com/search "Martha Jane Bradford"
VIRTUAL ART: Alizarin Goldflake, Second Life avatar of Martha Jane Bradford
Atelier Alizarin (Second Life studio): http://slurl.com/secondlife/Lie/222/189/35
Flickr: http://www.flickr.com/photos/alizaringoldflake/
YOUTUBE VIDEOS:
Studio Tour:
http://www.youtube.com/watch?v=XDjrLmPpopA
"Metemspyche's Garden:"
http://www.youtube.com/watch?v=GfQGuNXWvLo
"The Maze:"
http://www.youtube.com/watch?v=OEa9rtEiINE
Sunday, January 3, 2010
Acquarella Story Contest Winner
"The Princess Who Would Never Take a Bath" by Laurel Leavitt
Once there was a Princess who would never take a bath.
“Please,” said the Queen.
“No,” said the Princess.
“You can have bubbles,” offered the King.
“No thanks,” said the Princess.
“She is filthy,” whispered the servants.
So, the King called in his wisemen and said, “ Please think up a plan.”
The wisemen hired a carpenter to build a fine aquarium, with jewel sprinkled sand and plants with lacy leaves. The royal chemist poured in water from the clearest, purest well, and ordered fish in all the rainbow colors. Then the Royal Wizard cast a magic spell upon the Princess, so that when the Queen said, “Time for a bath,” the Princess turned into a tiny mermaid, and the Queen picked her up and plopped her into the aquarium. “Whee,” said the princess, as she dove and splashed and swam. But, when the Queen said, “Time to get out now,” the princess said, “No!”
“Please,” said the Queen.
"No, never," said the Princess.
“You can have cocoa,” offered the King
“No thanks,” said the princess.
“She will drown,” sighed the servants.
So the King and Queen called in the Wizard and said “Send us in, too.” And the Wizard cast a magic spell and plopped their tiny bodies in the water and they dove and splashed and swam.
“Time to get out now,” cried the servants.
“No, it's beautiful here,” exclaimed the Queen.
“Come home right this minute,” called the cooks.
“No, it's peaceful here,” shouted the King.
“They will starve,” warned the Wisemen.
But the royal cooks cooked food for them and ground it up and dried it and sprinkled it in the water where the royal family waited.
“How about roast beef? said the King.
“Send us peaches,” begged the queen.
“ I want chocolate,” said the princess.
And one young kitchen helper, whose name was Acquarella, heard the Princess ask for chocolate and threw in a whole candy bar which crushed to death the King and Queen and Princess.
"Oh no," said the wisemen.
"Alas," said the wizard.
"I'm sorry," cried the kitchen helper.
But the aquarium was built so sturdily that even after all these years, you can see a piece of the chocolate bar and hear the voices saying “Pleeeeease” and “Noooo.”
Sunday, December 27, 2009
Seba Sideways Concert a Huge Success
Ali and her good friend Corcosman Voom
Hair Flying
Quietly listening
my pal soror Nishi
everyone was dancing
Seba Sideways
the one and only Isabella Alphaville
The concert at Atelier Alizarin yesterday was a great success. Ali's friends mingled with Seba's fans, all dancing to tunes from his fabulous tenor sax
Monday, December 14, 2009
Seba Sideways Plays at Club Orfeo!
http://slurl.com/secondlife/Lie/204/203/333
Everyone is invited to come recover from Christmas and soothe your soul with sounds from Seba's beautiful tenor sax. Orfeo's Oratorio will be transformed into a night club for the event. We promise you an elegant and mysterious environment with not one single Christmas decoration! From Buenos Aires to SL, Seba is generously devoting his time in December to performing in art galleries and museums with Jazz, Bossa Nova, Blues, Funk, Reggae Roots, Ballads and Tango. A music event not to be missed!
TP blocks on the west wall take you to many other beautiful Atelier Alizarin art locations.
Seba
http://www.myspace.com/sebasaxo
Alizarin
http://www.flickr.com/photos/alizaringoldflake/
http://alizaringoldflake.blogspot.com/
http://www.marthavista.com/
Friday, December 4, 2009
Art:21 - an example of the lively exchange in Comments
To see all of the comments, go to: http://blog.art21.org/2009/11/30/virtual-artists-immersive-discoveries-in-a-virtual-3d-frontier/
Alfred M. Ajami Reply:
December 2nd, 2009 at 11:17 pm
Nettrice, I take your point. First an observation, and then permit me to push back on the second clause of your closing sentence.
If we take the Coulter-Smith forecast as normative, then the medium’s evolution, just shy of five years, is astounding.
As to the assertion “can really only be experienced in-world”, let me ask you to imagine applications for technology already at hand that will bring the “in-world” experience of the virtual world out into the, shall we call it, actual world.
It is now possible, albeit in a temporarily primitive way, to create a personal, Imax-like environment for 3-D video and hence for full-motion virtual art. Put together penta-prisms, beam splitters, digital light projectors and hemispheric mirror surfaces and digital art can be personalized, as well as shared with others off-line. For a hint on how this can be done, you can imagine the virtualization of 3D and 4D art within some variation of Luc Courchesne’s panoscope (http://www.panoscope360.com/), in spatially immersive displays(http://www.hitl.washington.edu/projects/knowledge_base/hmd.html) or in any one of the enveloping projection environments pioneered by Paul Bourke (http://local.wasp.uwa.edu.au/~pbourke/miscellaneous/domemirror/mirrordome/).
I submit that for virtual, immersive art to fully take root, it must cross over and hold its own within the same space and in front of the same audiences, public and power-elite, that currently only experience legacy art (if any art at all). That is the premise that I have adopted as a starting point for working the technology, and it provides a practical, common ground for scientists and artists to collaborate on.
Nettrice Gaskins Reply:
December 3rd, 2009 at 1:10 pm
Alfred, this issue has been bandied about and debated, both in-world and in real life for a while now. Can the “in-world” experience be brought out into the actual world? Of course and it’s already happening. Several SL artists have done Mixed Reality shows and Brooklyn Is Watching, a show I mentioned in my write-up, is an example. The debate rests on the purpose and intent of the artist and the form of art he or she creates in virtual 3D space. Some works are clearly, intentionally meant to be experienced in Second Life, for example, and any attempts to bring the work into material space would somehow lessen the impact or experience of being immersed in the work (as an avatar).
Plasticity or the synthesis of virtual and real art bends the rules of how we define reality and how artists create images/objects. One of the qualities of immersive 3D art that would be difficult to re-create or simulate in material space is flight. DC’s Tower of Light is hundreds of meters tall. SL artists are encouraged to push and revise the fundamental constructs of plasticity through the use and control of the avatar. The plasticity of the brain replaces real life action with avatar movement to create real feelings of flying or falling while in virtual 3D space.
Of course this experience could be simulated using various devices but some might ask: What is the point of doing that in material space? Wouldn’t it take more time and resources (money) than in virtual 3D space?
Alfred M. Ajami Reply:
December 2nd, 2009 at 11:17 pm
Nettrice, I take your point. First an observation, and then permit me to push back on the second clause of your closing sentence.
If we take the Coulter-Smith forecast as normative, then the medium’s evolution, just shy of five years, is astounding.
As to the assertion “can really only be experienced in-world”, let me ask you to imagine applications for technology already at hand that will bring the “in-world” experience of the virtual world out into the, shall we call it, actual world.
It is now possible, albeit in a temporarily primitive way, to create a personal, Imax-like environment for 3-D video and hence for full-motion virtual art. Put together penta-prisms, beam splitters, digital light projectors and hemispheric mirror surfaces and digital art can be personalized, as well as shared with others off-line. For a hint on how this can be done, you can imagine the virtualization of 3D and 4D art within some variation of Luc Courchesne’s panoscope (http://www.panoscope360.com/), in spatially immersive displays(http://www.hitl.washington.edu/projects/knowledge_base/hmd.html) or in any one of the enveloping projection environments pioneered by Paul Bourke (http://local.wasp.uwa.edu.au/~pbourke/miscellaneous/domemirror/mirrordome/).
I submit that for virtual, immersive art to fully take root, it must cross over and hold its own within the same space and in front of the same audiences, public and power-elite, that currently only experience legacy art (if any art at all). That is the premise that I have adopted as a starting point for working the technology, and it provides a practical, common ground for scientists and artists to collaborate on.
Nettrice Gaskins Reply:
December 3rd, 2009 at 1:10 pm
Alfred, this issue has been bandied about and debated, both in-world and in real life for a while now. Can the “in-world” experience be brought out into the actual world? Of course and it’s already happening. Several SL artists have done Mixed Reality shows and Brooklyn Is Watching, a show I mentioned in my write-up, is an example. The debate rests on the purpose and intent of the artist and the form of art he or she creates in virtual 3D space. Some works are clearly, intentionally meant to be experienced in Second Life, for example, and any attempts to bring the work into material space would somehow lessen the impact or experience of being immersed in the work (as an avatar).
Plasticity or the synthesis of virtual and real art bends the rules of how we define reality and how artists create images/objects. One of the qualities of immersive 3D art that would be difficult to re-create or simulate in material space is flight. DC’s Tower of Light is hundreds of meters tall. SL artists are encouraged to push and revise the fundamental constructs of plasticity through the use and control of the avatar. The plasticity of the brain replaces real life action with avatar movement to create real feelings of flying or falling while in virtual 3D space.
Of course this experience could be simulated using various devices but some might ask: What is the point of doing that in material space? Wouldn’t it take more time and resources (money) than in virtual 3D space?
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