Knowing an artist albeit “virtually”, at a distance, always procure me emotions. Then, when the person is nice and helpful at least as far as technically prepared, is really a pleasure to talk about her as in this case. An exhibition, organized by Crystalship Rehula(artist and “graphic dreamer” I appreciate since a long time) in Second Life, virtual reality platform of Californian Linden Lab, entitled “Under an OcTree” in which they are presented some works of Parmisan Nur Moo, gave me the chance.
Nur is since a long time in Second Life, but also took many photographic exhibitions in “real” art galleries and I find she is one of the most interesting emerging artist. For some time her daily activities has moved her away from SL, so I asked her why she came back to expose (the images you see in this article just refer to the virtual installation, ongoing at the gallery of Crystalship, What’s This Art) and as always she answered me.
Luciana Pinazzo: I saw that you have an exhibition taking place in Second Life, it was an idea of yours or of Crystal?
Nur Moo: The idea of content of my photographs is mine like the “way” to expose them too, I never agree to exhibit in places where I have to just “hang” in a classic pictures: we are in the metaverse, so I like to take advantage of creative possibilities with respect to real world.
L.P.: Why “Under an OcTree”?
N.M.: “Under an OcTree” is a funny play on words that relies on the double meaning of the word “tree”, as a tree data structure, usually used in 3D graphics. The central concept of this work, once again on the avatar of Second Life, is to highlight the very real structure that makes up the virtual reality in which our avatars move, the structure that underlies the moving images we see on the monitor. I think it’s very important to remember, at this moment in the history of Second Life, that there is always a separation between reality and virtuality that makes the most creative “game”. I often see with sadness as now there is a dominant trend in the metaverse to copy in all respects reality, creating an hyperreal vision (as the “boobs mesh lolas tango” which have invaded SL) of poor quality.
L.P.: Do you think SL still has something to show us or your return is just a sign of your affection for this platform and its users?
N.M.: I still believe that Second Life has a lot to give as a creative platform for (true) artists, as long as used in the right way. I am very sorry that Linden did not understand this important potential, pushing hard only the commercial and relegating the art in that sort of “marketplace of ideas” that is the Lea (Linden Endowment for the Arts).