Paola Mills: sensual solitudes

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    Paola Mills cover

    Ever feel like you always know a person? It happened to me with Paola Mills, Italian graphic dreamer I was certain to have already reported some time ago. I didn’t, although I admire her works since a long time, I’ve never spoken.

    Paola MillsI remedy now: Paola came in Second Life for professional interest (in RL working at a telecoms company, as she explained in an interview on the blog of Alice Mastroianni) but remained there for her interest and passion. At the beginning, by her own admission, Paola realized color images “just for the sake of stopping a meeting, an evening” and, I add, for the sake of capturing the memories of what she discovered in the vast virtual world of Second Life.

    Paola Mills, the black&white period
    Paola Mills

    Disappointed by the “social” experience of the virtual world of Linden Lab Paola has chosen to isolate herself and make solitary experiences that ed her to opt for the black and white “as the only means to try to capture the emotion, the pain sometimes some joy“. Pictures certainly more “thought” that the first, but managed to look very natural, expressive and sensual. Since also Paola, like other graphic dreamers, know how to mix elegance and a bit of sensuality, without falling into vulgarity or banality.

    So if I already could appreciate images as Obscurum 10 (see above), taken from a series of shots set in the fantastic and unfortunately vanished sim of Templum ex Obscurum, very “pop” but with gothic overtones, if I have to smile in front of Divas mon amour, that portrays Paola in a “tet-a-tet” with a very close friend of mine, Divas Babenco, is with the transition to black and white that I think Paola comes to full maturity of expression.

    The provocative maturity of Paola

    A maturity not immediate, if it is true that Roan 22 is an Paola Millsintriguing image but with too redundant elements, but achieved with a work of progressive stylistic refinement (which also runs parallel to the color images, as in Noir Light) that allows Paola on one hand to strip the protagonists of her shots to create images deliberately “provocative” as Nicole or Native on the other hand to strip her own images of the superfluous and concentrate the viewer’s attention on the focal point of each image. Achieving excellent results with works such as Puppet, Lin, or recent Brunilde, Wunderlich and Rebecca. But follow my advice: keep an eye on Paola’s production, since it is always evolving, and very nicely.