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An exhibition series of original digital art in a virtual world

UWA Art & Machinima Challenges

FreeWee Ling, curator

UWA Studies in Virtual Arts | January 2017 | Volume 6, Number 1 ISSN: 2200-7865 (Print)

ISSN: 2200-7873 (Online)

UWA Studies in Virtual Arts January 2017 Volume 6, Number 1 ISSN 2200-7865 (Print) ISSN: 2200-7873 (Online) Jay Jay Jegathesan (SL pseudonym: JayJay Zifanwe), Project Director, Co-curator D. A. Newton (SL pseudonym: FreeWee Ling), UWA Honorary Research Fellow, Lead Curator, and General Editor Copyright © 2017 by D.A. Newton. All rights to the original works depicted are owned by their respective creators, and images thereof are used in accordance with the terms of entry for the UWA Challenges. Contact: Jay Jay Jegathesan Health and Medical Sciences: SDC (Graduate Research School) The University of Western Australia (M013) 35 Stirling Highway Crawley WA 6009 Australia Email: UWA Studies in Virtual Arts comprise exhibition catalogues, special editions, and monographs on the arts in virtual worlds. Focus is especially upon the 3D art exhibitions held at UWA’s virtual campus in Second Life®. Citation Contributors retain intellectual property rights to their material and may re-publish it provided that UWA SiVA is acknowledged as the original place of publication. Material in UWA SiVA may be reproduced in whole or in part for non-profit use for the purposes of education, research, library reference, or stored and/or distributed as a public service by any networked computer. Any commercial use of this journal in whole or in part by any means is strictly prohibited without written permission. Any use of this journal in whole or in part should include customary bibliographic citation. “Second Life®”and “Linden Lab®” are trademarks of Linden Research, Inc. The U niversity of Western Australia and UWA SiVA are not affiliated with or sponsored by Linden Research.

2016 UWA Art & Machinima Challenge: IMMATERIAL



The Artists



The University of Western Australia (UWA) has had a presence in the virtual world of Second Life® (SL™) since 2009. Since then, UWA in SL has presented many major international exhibitions of virtual art and machinima (from “machine+cinema,” i.e., animated film produced using virtual worlds). 2015 was the sixth and final year of the major 3D virtual art and machinima challenges at UWA. Through these competitions UWA in SL has been recognized worldwide as a preeminent venue for the presentation of virtual arts and machinima. We have gained a high reputation for the quality and diversity of our shows despite an open submission policy through which anyone could submit anything as long as it conformed to certain technical and thematic criteria. Instead of major annual competitions with significant cash awards, UWA in SL is transitioning to an irregular schedule of exhibitions on various themes. These shows are open to anyone, as usual, but are no longer judged by a panel. No prizes are offered or awards given. Aside from publication in this exhibition catalog, artists are given no incentive beyond the desire to create art to be seen in a reputable venue. IMMATERIAL We have learned from experience that some artists do not like to create to a given theme, while others appreciate being given a subject as a reference, a starting point, or an inspiration. To accomodate as many artists as possible, as well as to add some kind of cohesiveness to a diverse show, we choose themes that are intentionally ambiguous and as widely open to interpretation as possible. We are not interested in literal representations, but hope instead to stimulate the imagination. For the IMMATERIAL show, artists were told only that it was about light, shadows, textures, motion, and ideas. It was intended to highlight the technologies of SL as a medium for creative expression. We especially wanted work that uses advanced


techniques, in addition to objects per se, including but not limited to: • • • • • • •

3D mesh modeling Materials Projected light and shadows Avatar and object motion/animation Advanced scripting/interaction Particles Pathfinding

In a break from our usual practice of having separate 3D and machinima competitions, for IMMATERIAL we accepted 3D, 2D, and machinima in a mixed exhibition, while still emphasizing 3D as our traditional focus. Expecting a smaller show than our big annual competitions, we expanded the resource limit for entries to 200 Land Impact (LI), up from our usual 100-150. In practice, very few entries actually came close to the limit due in part to the evolution of efficient mesh building techniques. Artists were asked to include a brief statement about their entry. Some were very concise and technical, while others went into more depth about the thinking behind their work. Their words are included in this catalog. FROM THE CURATOR I am grateful and humbled by the response to the Call for Entries for IMMATERIAL. I had no expectations going into this new chapter at UWA in SL, hoping to receive at least a few quality pieces — enough to make a credible show. I was thrilled when so many of my very favorite artists responded with such excellent and thoughtful work. From a nervous start to an exhilerating finish, this show has developed into one of the best we have ever mounted. ~F.L.

INTERNATIONAL REPRESENTATION We had 37 entries by 38 artists (including one collaboration). 14 countries are represented (13 in the first 15 entries received). This was a remarkable level of diversity for a show of this size, surpassing by three countries even our most recent major competition. USA 14 Australia 5 France 3 Spain 3 Germany 2 Argentina 1 Brazil 1 Catalonia 1 Italy 1 Japan 1 Sweden 1 Switzerland 1 The Netherlands 1 Turkey 1 UK 1 CONVENTIONS • As is customary in virtual worlds where most people use pseudonyms, alphabetical lists of names go by first names. • The slang abbreviations SL and RL (or “rl”) refer to “Second Life” and “real life,” respectively.


The University of Western Australia in Second Life

Event poster by Eliza Weirwight

IMMATERIAL Exhibition Catalogue

The Artists Almut Brunswick (Braunschweig, Germany) ~ Behind the Canvas Alpha Auer (Turkey) ~ The Lovely Ones Apmel Goosson (Stockholm, Sweden) ~ Bouncy Lawn Awesome Fallen (Madrid, Spain) ~ Thoughts Barret Darkfold (Rubi, Catalonia) ~ Abstract Dance Carmsie Melodie (Melbourne, Australia) ~ Vanity: An Enemy of Dignity Chic Aeon (Corvallis, Oregon, USA) ~ Coupling Corcosman Voom (California, USA) ~ Monoton Dusty Canning (Perth, WA, Australia) ~ Thoroughly Irrelevant Elle Thorkveld (Connecticut, USA) ~ Kinetic Hues ErikoLeo (Paris, France) ~ Reflections Ferdia Glenfadden (New York, USA) ~ What I Barely Recall from My Childhood Frankx Lefavre (Sydney, Australia) ~ Reflections at Midnight FreeWee Ling (Kentucky, USA) ~ Thinking of You Haveit Neox (Los Angeles, California, USA) ~ Flight from the Scroll HOLALA Alter (Madrid, Spain) ~ Huntress Diana Hypatia Pickens (Rochester, NY, USA) ~ The Spoils of Annwn iSkye Silverweb (Green Bay, Wisconsin USA) ~ Windy Memories Jesse Keyes (Dawsonville, Georgia, USA) ~ Victorian Observation Steps Kerupa Flow (Japan) ~ Tomorrow, and Tomorrow, and Tomorrow Krystali Rabeni (Blackpool, UK) ~ If Wishes Were Kisses Lilia Artis (Bern, Switzerland) ~ Who Are You? Moewe Winkler (Germany) ~ In the Light Myra Wildmist (Washington, DC, USA) ~ Dancer quadrapop Lane (Perth, Western Australia, Australia) ~ The Artist Is Not Present Ronin1 Shippe (New Mexico, USA) ~ Pink Block Rosie Dimanovic (France) ~ Reflect the Love Sabine Stonebender (San Antonio, Texas USA) ~ Inbound from the Oort Cloud SaveMe Oh/Glasz Decuir ~ When Malevich Had a TV Scarlett (doasilike) (El Calafate, Santa Cruz, Argentina) ~ Angels Are Everywhere Secret Rage (Dallas, Texas, USA) ~ Inconsequentia Silas Merlin (Garlan, France) ~ Guardian Angels Slatan Dryke (Milan, Italy) ~ Diaphanous Strand Starsider (California, USA) ~ Reflection Takni Mistwalker/Misio2 (Madrid/Melbourne, Spain/Australia) ~ Pistons Soup Theda Tammas (SĂŁo Paulo, Brazil) ~ Ethereal Yoon (Toyono) (The Netherlands) ~ The Dark Queen


Almut Brunswick (Braunschweig, Germany) ~ Behind the Canvas

What is behind the canvas? In most cases, processes of creating a piece of art are hidden for the audience. Sometimes at least traces of the making itself remain visible, but often even not them. The spectator is confronted just with the result itself whilst often not knowing about the circumstances of the creation. So an individual guessing and interpretation begins, opening up an ambiance for thoughts, feelings and associations. - My contribution is an attempt to capture typical stages of a creative process in an allegoric and abstract interpretation. Starting from a basic arrangement which uses the simplest elements possible - ten standard cubes -, the raw material becomes involved in an interplay between rules and random, conditions and coincidences. In the moment when we are assuming that we know how the picture will be drawn or even to recognize patterns, the composition is wiped away by a different one. Why are they so harmonically looking? It is like listening to a melody we seem to have heard many times, but is interrupted and continued in a different, unexpected way. Sometimes the canvas remains even dark like in a moonless night. From time to time, even this is not unusual in creating art. The power of imagination requires a free ambiance like a paint brush stroke needs a properly prepared canvas to unleash its expression. Aren't we the final canvas for the artwork?

~Almut Brunswick




Alpha Auer (Turkey) ~ The Lovely Ones

Just some lovely mesh people in a lovely building. ~ Alpha Auer


Alpha Auer was the top prize winner of UWA’s last major 3D art challenge, PURSUE IMPOSSIBLE, in her first showing at UWA. She is well known as one of the Second Life avatars of Elif Ayiter, who is a designer and educator in rl. Alpha is the CEO of the SL fashion store “alpha.tribe“ and has participated in several other SL exhibits over the years. 11

Apmel Goosson (Stockholm, Sweden) ~ Bouncy Lawn

Apmel is often seen at openings in SL and OpenSim grids. He can always be counted upon to lighten the mood, wherever he is to be found. Lest we take ourselves too seriously, take a romp on his bouncy lawn.



Awesome Fallen (Madrid, Spain) ~ Thoughts

Reflecting the immaterial material of thoughts. Technique: Projected light and shadows. ~ Awesome Fallen



Barret Darkfold (Rubi, Catalonia) ~ Abstract Dance

Semitrasparents eight circles and flexible ranges for gravity SL, around a cylinder, above a large circle and also flelxible ranges, which suggests the head of the group, which approximates interprets the spirit of the dance. The textures used come from my abstract paintings I do not use scripts. ~ Barret Darkfold

Barret’s piece is highly kinetic with the various circles appearing to spin asymmetrically. In fact, this is an illusion created by manipulating the flex settings of the cylindrical prims, causing them to flop around in a rapid circular motion without scripts. A clever use of the inherent eccentricities of this basic feature.



Carmsie Melodie (Melbourne, Australia) ~ Vanity: An Enemy of Dignity My entry is based on a skewed interpretation of the term "immaterial", along with a famous fairy tale by Hans Christian Anderson first published in 1837. Synopsis Once upon a time a greedy tailor promised to make an Emperor an incredible suit of clothes for a very high fee. The tailor claimed that the suit would be cut from a specially woven fabric that’s invisible [immaterial] to anyone who is unfit for his position, stupid or incompetent. The Emperor was very vain. He loved wearing and displaying wonderful clothes, so he agreed. When the suit was finished the tailor mimed dressing the Emperor. Neither the Emperor or his ministers could see the clothes but they pretend that they could. They didn’t want to look like they were unfit for their positions. And so the Emperor paraded before his subjects in his new suit ... or rather naked! The townsfolk played along because they didn’t want to appear stupid either. Then a small boy in the crowd, too young to understand the pretense, blurted out loudly that, “The Emperor is wearing no clothes!” The cry was soon taken up by the all the onlookers. The Emperor suspected that the child was correct but continued the procession anyway. ~ Carmsie Melodie





Chic Aeon (Corvallis, Oregon, USA) ~ Coupling

Original mesh made in Blender Cycles. How do we keep ourselves and give to the other? How much is too much? How much is too little? To the outside world we can seem perfect - like a shiny new penny basking in the sun, but behind the facade uncertainty and regret dims the light that we think of as ourselves. ~ Chic Aeon



Corcosman Voom (California, USA) ~ Monoton

I started with the poem “The Quids” by Laura Riding Jackson and that was the inspiration for the sculpture. The poem is whispered in chat to the viewer by touching the base of the sculpture. I used targeted particles so that they appear to move along rods coming out of the body of the sculpture. The larger prims in the body are on timers and change their position based on the Second Life wind. ~ Corcosman Voom

The little quids, the million quids, The everywhere, everything, always quids, The atoms of the Monoton— Each turned three essences where it stood And ground a gisty dust from its neighbors' edges Until a powdery thoughtfall stormed in and out, The cerebration of a slippery quid enterprise. Each quid stirred. The united quids Waved through a sinuous decision. ~ from “The Quids” (1924) by Laura Riding Jackson



Dusty Canning (Perth, WA, Australia) ~ Thoroughly Irrelevant

What a wonderful theme for the exhibition. It's so vague but open to almost any interpretation. I decided to take the theme literally, so my work is thoroughly irrelevant, unimportant, inconsequential, insignificant, etc., etc. I attempted to use as many building techniques as possible with the aim of ending up with a collection of interactive fun pieces. Please feel free to have some fun by sitting on or clicking the rainbow buttons at the front. For the first time I have incorporated some shadows as part of my work so please turn on Projected Light for the best overall effect. ~ Dusty Canning

Dusty has been a friend and supporter of UWA’s efforts in SL since the very beginning, including build assistance on the iconic Winthrop Clock Tower, et al. Dusty has also been a prize winner in several of our 3D art challenges over the years, including the most recent PURSUE IMPOSSIBLE show.



Elle Thorkveld (Connecticut, USA) ~ Kinetic Hues

Dancing colors and shapes existing only in the immaterial computer world with no concrete form. Somehow real, all the same. ~ Elle Thorkveld





ErikoLeo (Paris, France) ~ Reflections

I'd like to present in the themes "Materials" and "Projected light and shadows" a scene showing how to simulate a mirroring effect in SL. The effect is in fact a reflection of a projected image on a dark shiny (material) surface, instead of the real scene one. I was taught to do it by the painter and sculptor Silas Merlin and this is a scene in imitation of one by Silas (hyperlink). The effect has to be finalized at the specific place where the scene actually lays, since it requires a shot of the environs. Credits: Statue: Silas Merlin (after Degas' Pastel "Danseuse Ă la Barre", c. 1885) Mirror, image and projector: your servitor ~ ErikoLeo



Ferdia Glenfadden (New York, USA) ~ What I Barely Recall from My Childhood

'What I Barely Recall from my Childhood' was shot using only Firestorm Windlight and Phototools, and an empty house (Hardwick Manor built by Apple Fall). It is a phantom structure - celebrating coming to terms with bad childhood memories and forgetting and forgiving them - and can be walked into. ~ Ferdia Glenfadden



Frankx Lefavre (Sydney, Australia) ~ Reflections at Midnight

This all about light, movement, reflections. A combination of mesh and prims, set to convex at the root, a mix of prim, convex and none physical shapes. Each part of the work is also a combination of diffuse, normal and specular mapping, alphas in the diffuse maps are also on and off or masked, prim point lights on and off which are also scripted to be randomly coloured each time someone sits in the chair. as are the particles in the heads when they appear. Scripting makes use of alpha fades, timers, keyframe motion, child prim rotation, ribbon particles, texture rotations, and other bits and pieces. 27 Scripts in total, with a hit of 0.034875 ms of CPU time on the simulator. All textures, mesh and scripts were created and written by myself. Prims kindly donated by Linden Labs. ~ Frankx Lefavre







FreeWee Ling (Kentucky, USA) ~ Thinking of You

My entry consists of several small groupings and individual abstract humanoid figures with metallic surfaces distributed around the gallery. Each of the characters is involved in some activity, but is distracted by thoughts of someone far away. Physically present, but mentally and emotionally distant. Construction uses standard prims, but textures are the result of advanced lighting materials and projected lights. ~ FreeWee Ling





Haveit Neox (Los Angeles, California, USA) ~ Flight from the Scroll

Earth becomes a human document. The flowing landscapes are now removed from their sites, and copied onto the folds and curls of the gigantic unfinished scroll. Animals take flight, but are tied by context to our stories. If there is to be an escape for them, someone must shake the letters loose from the paper. For this sculpture I created mesh, prims, and projectors. It is best viewed by choosing: Advanced Lighting Model. A good Windlight for viewing detail is Midnight. ~ Haveit Neox





HOLALA Alter (Madrid, Spain) ~ Huntress Diana

Javelins as particles. ~ HOLALA Alter



Hypatia Pickens (Rochester, NY, USA) ~ The Spoils of Annwn (machinima)

What better place to stage the Otherworld than in the immaterial Otherworld of Second Life? This film is a representation of a digital environment, itself a 3D interpretation of a poem that defies interpretation. My students brought together the materials of skillful artists in Second Life to make a labyrinth in which one hunts for the mysterious prisoner Gweir who sings before the Spoils of Annwn, and worked with me to make a soundtrack for both environment and film. Neither the film nor the sim attempts to make sense of this intricate and contradictory poem, only to ask questions and inspire comments. But the important thing is that we made the environment together from almost nothing, black ink on a page, dark hints, fanciful digital sculptures, much critical reading, and all the materials of poetic inspiration. ~ Hypatia Pickens Hypatia’s full machinima can be seen at:



iSkye Silverweb (Green Bay, Wisconsin USA) ~ Windy Memories

I chose to evoke a memory, of a windy day, of sunlight, of green grass and flapping laundry, clouds skipping across the sky, constantly changing shape and all somewhat fuzzy, as memories often are. The human mind and heart are a mystery in the way a single moment in one's life can be locked away, then magically brought back to vivid life upon seeing a single blade of grass waving in the wind on a fine sunny day like the one being remembered. It's this immateriality of wind, and memory, mysteries of the human heart. Just because something isn't THERE doesn't mean it isn't there... ~ iSkye Silverweb



Jesse Keyes (Dawsonville, Georgia, USA) ~ Victorian Observation Steps

A moving light show Best viewed at a midnight setting the projected images are projected light from the prims. ~ Jesse Keyes



Kerupa Flow (Japan) ~ Tomorrow, and Tomorrow, and Tomorrow

Yes, this title is from Macbeth. I may not despair because I express despair. Maybe it's a kind of a paradox, don't you think so? But it is maybe surely scary that tomorrow comes. always. ~ Kerupa Flow





Krystali Rabeni (Blackpool, UK) ~ If Wishes Were Kisses

If Wishes Were Kisses. If wishes were kisses And kisses brought peace We'd all wish together And fighting would cease. But wishes aren't kisses And fighting won't cease It's all immaterial So we wish to believe. ....



Shadows are such straightforward things: cast a light on an opaque object, and a shadow of it is thus born. Yet shadows can be manipulated to resemble entirely different shapes from its model, using strategic manipulation of space and light. I was interested in taking immaterial items and projecting light on to them to create familiar images and portraying a thoughtful message in the process. ~ Krystali Rabeni



Lilia Artis (Bern, Switzerland) ~ Who Are You?

Almost daily we are flooded with news about the horrible things human beings do to other human beings. There seems to be no limit to cruelty. And more often than not are we ruled by hate in our decisions and actions – while millions present themselves in photos as friendly and beautiful in social media. It is now the year 2016! We have achieved incredible technical advances and yet, what happens in the world and the world wide web often enough resembles the Middle Ages. If we aren't as friendly and beautiful as the social media presents us, if this is just our body, our outer shell, what is the truth about us? Who are we? "Who are you?" is a mix of prims and mesh I sculpted. In the process I also scripted the parts to show at different times and rhythms. The information about what the human body consists of I researched at Wikipedia. ~ Lilia Artis



Moewe Winkler (Germany) ~ In the Light

All objects in virtual worlds are immaterial. But I can transform the immaterial Second Life into a double immaterial world by using light and shadow, projectors, reflections or particles. This aspect inspired me to create "in the light". In addition, the mirror effect and the associated optical illusions are transforming a small room into a much larger space. ~ Moewe Winkler

Actual reflective mirror surfaces are technically impossible in Second Life. But a compelling illusion can sometimes be achieved through the artful use of projected images.



Myra Wildmist (Washington, DC, USA) ~ Dancer

Dancer celebrates the joy of dance. Sit on the ball in the middle of the cylinders and dance. Dancer makes extensive use of projectors. The Advanced Lighting Model is needed to see this work as intended. ~ Myra Wildmist





quadrapop Lane (Perth, Western Australia, Australia) ~ The Artist Is Not Present

What could be more immaterial than a conceptual work or one that is only visible with the right frame of reference? Visible in shine on top of plain white podium and the prim is called that. Art is | in the mind | of the beholder. Projected onto viewer from three prims that rotate slowly around. One each in red, green & blue such that when more than one av is present on either side of the work the text can be seen projected onto the av opposite. Prim linkset called Art is etc. This is not a prim. Image texture of a basic prim on linden grass with hover text saying 'this is not a prim' as a particle hologram emitted by a containing one way sphere that sits on the above podium. ~ quadrapop Lane



Ronin1 Shippe (New Mexico, USA) ~ Pink Block

Color and shape are fundamental to art. Shades, varying points of emphasis - all are immaterial, but significant. :) ~ Ronin1 Shippe

Ronin’s 2D digital paintings are full of whimsy. Sometimes impresionistic, sometimes abstract, always colorful and engaging. “Pink Block” is simply a six-sided frame with images in shades of pink and black. Ronin has a special fondness for elephants. ~Ed.



Rosie Dimanovic (France) ~ Reflect the Love

All one undertakes is done with the heart of his emotions. This is the outline of pleasure. ~ Rosie Dimanovic





Sabine Stonebender (San Antonio, Texas USA) ~ Inbound from the Oort Cloud

A comet begins its journey inward towards the sun with flares of gas and ice dancing around it. ~ Sabine Stonebender



SaveMe Oh/Glasz Decuir ~ When Malevich Had a TV

Video (Machinima) Title: When Malevich had a TV Sound: John Cage 4.33 Co-Production: Directed by SaveMe Oh Filmed and edited by Glasz DeCuir Link: The supremacy of pure artistic feeling" rather than on visual depiction of objects... a blissful sense of liberating non-objectivity drew us forth into a "desert", where nothing is real except feeling... Since in it we intend to reduce everything to OH, we have decided to call it OH. Afterward we ourselves will go beyond OH.



Scarlett (doasilike) (El Calafate, Santa Cruz, Argentina) ~ Angels Are Everywhere

Lights and shadows are always accompanying our motion thru our worlds both real and virtual, enlightening, distorting, widening, sometimes clouding our perception but certainly adding to the texture that makes our world an interesting place to live in. This photo was taken inworld using a certain windlight and post-processing was kept to a minimum by adding only a ray of light. ~ Scarlett



Secret Rage (Dallas, Texas, USA) ~ Inconsequentia

Inconsequentia (plural noun) - in·con·se·quen·tia Popularity: Bottom 10% of words Definition of inconsequentia: matters of no grave moment or significance, trivia <the inconsequentia of daily life> I think all of us, at times, begin to question whether what we do is meaningful in any real sense. We have days where we become bogged down and "trapped" in the triviality of it all, and to a life of a daily committal to these inconsequentia. This piece was born on the Mother of all those days, hence the human figure (yes, me) enmeshed in amber—forced to become a paperweight for the barrage of boring banality to which I awakened. Once I could put it into perspective in this way, it was really quite therapeutic... ...even if I DID end up stuck in resin with bugs. ~Secret Rage



Silas Merlin (Garlan, France) ~ Guardian Angels

I just likes making stuff. ~ Silas Merlin

In real life Silas is a brilliant pastel artist who paints portraits and landscapes. He has recently taken to experimenting with rendering his paintings in 3D mesh, which he then imports to SL and/or has 3D physical models printed. He is also interested in the potentials of SLâ&#x20AC;&#x2122;s advanced lighting, doing interesting work with projections and materials. ~ Ed.





Slatan Dryke (Milan, Italy) ~ Diaphanous

Diaphanous: characterized by such fineness of texture as to permit seeing through - characterized by extreme delicacy of form. The immaterial shapes play together in a random twisting, sizing, overlapping and melting into each other. The ballet of colors and shades twinkles and sparkles, before to vanish in a while as in a while it appears once again in a veiled shadow. What is really Immaterial for the viewerâ&#x20AC;&#x201D;the elusive forms in their constant uneven motion or the luminous flux that winks at you before to reveal its vivid soul. ~ Slatan Dryke



Strand Starsider (California, USA) ~ Reflection


This "Jeri Rahja Advanced Light Study" featured model Jeri Rahja, advanced environment lighting, high resolution capture, sim light augmented with strategically placed fill lights as well as advanced light projection features to achieve the final result. What is presented/submitted is exactly what was captured and has in no manner shape or from been altered from its original form other than titling. The objective was to capture as pure a study of lighting, shadows etc as possible without enhancing or relying on atmospheric settings., Photoshop etc. The piece features the movement of light from upper right to lower left corner crossing the torso, catching the shadow of the breast and highlighting the jewelry. The focus was on the subtly of the shadows, reflection of light on the natural elements as well as creatively projecting a second piece of art work ( stylized?lightbox=dataItem-iqwrp4kg ) directly on the torso. The subliminal addition of muted color within what initially appears to be shadows adds depth and something more to discover in the piece that is not immediately apparent at first glance. Here are two additional examples of that. Please note these examples have been significantly altered and are presented as examples of adding subliminal imaging. 1. 2. ~ Strand Starsider


Takni Mistwalker/Misio2 (Madrid/Melbourne, Spain/Australia) ~ Pistons Soup

Aliens technology left behind, nobody knows their purpose. ~ Takni Mistwalker, Misio2





Theda Tammas (SĂŁo Paulo, Brazil) ~ E T H E R E AL

When I think of Immaterial, I think of something I canâ&#x20AC;&#x2122;t touch, subjective, so I tried to give this feeling on my piece. ~ Theda Tammas





Yoon (Toyono) (The Netherlands) ~ The Dark Queen


It is a picture I took with a dark Windlight on a black background and one projector light. It is not Photoshopped or edited in any way. Other works by me can be seen at my Flickr: and I also have a blog: ~ Yoon (Toyono)


UWA SiVA 6 1: UWA 3D Art & Machinima Challenges: IMMATERIAL  

Exhibition catalog from the 2016 3D art and film (machinima) challenges at the University of Western Australia's virtual campus in Second Li...

UWA SiVA 6 1: UWA 3D Art & Machinima Challenges: IMMATERIAL  

Exhibition catalog from the 2016 3D art and film (machinima) challenges at the University of Western Australia's virtual campus in Second Li...