Aesthete & Amateur 10 parts 5 & 6: Louly Loon

The critical pair, Eleanor Medier and Heavy Writer,  start out at The Galleries: East, West, North and discover an installation about time (reviewed in Sim Street Journal#10 The Aesthete and the Amateur Part 5 in-world). Because they are so struck by its thematic strength, they want to see more of Louly Loon’s work which is well-displayed at Space 4 Art. 


Eleanor: “Here is an installation about time. It has those 2D disks that change really fast, contrasted with 3D clocks that don’t change at all.”

Heavy: “I like the setup. But the 2D art doesn’t have as much value piece-by-piece as does the whole.”


Heavy: “I have found a couple of pieces here by Louly—this one is  very colorful. ”

Eleanor: “It is a very intimate piece—like a jewel. We have to look close. But the figure seems like the dream as it fades in and out, and the trees are stable—the opposite of what I expect from its title. Why the bright colors? Many people say they dream in black and white, not many dream in color.”

Heavy: “My dreams have color sometimes, but I know I’m crazy, that’s why.”

Eleanor: “Well, spot colors do happen in dreams, like a red hat. But to think of a whole dream, like a color movie, is not supposed to be common. Dreams are unpredictable. It is the brain relaxing.”

Heavy: “No baby—when I dream in color, it is like watching a technicolor movie. They say only crazy people dream in color.”

Eleanor Medier grins: “That does explain a lot. Well, we all know you are unusual. Now we know why.”

Heavy: “Mmmhhhm. Want to see another Louly?”

Eleanor: “Yes—where? I don’t see it—oh this? Called ‘Where is My Mind?’ It doesn’t look like it was done by the same artist. I didn’t connect this piece with the others. It is very quiet, ethereal. What do you think?”

Heavy: “I think this is a place for German artists.”

Eleanor thinks of her own German heritage: “This piece shows a lot of Photoshop tricks. It is mysterious but doesn’t offer me enough incentive. And, there is nothing wrong with Germans.”


Eleanor: “This artist does have a lot of variety. Is this like a metamorphosis? Like the face and wing are emerging from a skeleton?”

Heavy: “Maybe she was trying first to build a sled for the winter, but her original project failed.”

Eleanor: “There are shoes and hands too, so I think it is meant to look like it is changing, but there is no movement.”

Heavy: “Does there have to be movement in all pieces?”

Eleanor: “Well, if the point is that the face and wing and hands are emerging out of a skeleton, that implies some movement, change. And if so, why not incorporate those qualities into the piece given that this is SL?”


Heavy: “Ohhh you’ll love this—come. The clocks in a 3D setup.”

Eleanor rounds the corner and sees the whole installation: “Good find! Are these like different views of time? Different attitudes? Some of us have time on our minds and we run with it? Others walk slowly while time revolves around us?”

Heavy: “This statue would look nice in our garden.”

Eleanor: “He sure is obsessed with time. It becomes like an icon. The various components are strong, and they work together as a whole. That is not easy to do. Did you see the big hand holding the time piece? It is very monumental.”

Heavy: “I don’t think he is a pro. Professional artists don`t spend time building, and he has built these ruins.”


Eleanor: “This one has a whimsy, humor, even feels mythological. The hands are like Disney cartoon characters— Mickey Mouse hands made out of stone. The setting makes it look so monumental, serious yet humorous too.”

Heavy: “It reminds me of people at a rock concert or in a stadium at a football game when their team scores.”

Eleanor: “All grabby and aggressive, even greedy?”

Heavy: “It doesn’t look aggressive to me. His imagination really seems free with the 3D and constrained with the 2D. Maybe his real life work is 3D—like an architect. He definitely has a good eye for proportions in 3D.”

Eleanor: “3D versus 2D is such a different perception—most artists are strong in one or the other. My work is very 2D.”

Heavy: “And just because 3D is not your thing, you are attracted by it more? At least in SL I know you are.”

Eleanor: “I believe in the integrity of the medium. It seems that SL needs to affect the art that uses it.”

Heavy: “Not the other way around? Art affecting SL?”

Eleanor: “Yes, definitely. We need to be influenced by our environments if we are sensitive and expressive. It is a lost opportunity not to. And if we are just here to impose ideas without being influenced back, that is so limiting.”

Heavy: “If you ask me, art is valuable anyway—good art of course—no matter if is just imported in SL or if is created in SL.”

Eleanor: “But does it not increase in depth and significance if the artist is sensitive and reacting to what is around him or her?”

Heavy: “Many try to use the environment and what SL provides, but very few are successful.”





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