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Reflections, a New Media Arts installation inside the Linden Endowment for the Arts

Wrapped delicately in a glass castle dream, that’s how Giovanna Cerise interprets the inner space of a female inside LEA, a virtual project in Second Life who granted land to 20 digital artists.

Original version of this interview (Spanish).

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A large tree in shades of lilac chairs the figurative center of a wetland where tall grass colorful sways with the gentle breeze of the night in a completely virtual ecosystem. This is the way Cerise opens a window into the feelings and wonders of a woman and reveals an abstract landscape wrapped in delicate crystal dream. She, under the pseudonym of Giovanna Cerise, is one of the digital artists selected inside the project Linden Endowment for the Arts (LEA), a project that grants to 20 artistic projects every six months virtual land in Second Life and is sponsored by Linden Labs, the owner of this world virtual.

A figurative wetland greets visitors in the virtual installation of Giovanna Cerise

EB: Cerise, we are on the first floor of LEA14, your island into the Linden Endowment for the Arts, with a large tree growing in a figurative wetland with a chromatic diversity grass in the middle of the night … tell us, are we inside a dream?

GC: We can think that we are in a dream, but especially in the mysterious face of women.

EB: And this great tree, which bathes its roots in water, is the tree of life?

GC: There is often a tree in my works. This time it shows not only the life but the power of the women too.

EB: What about water? It has any special meaning that the dream starts in a space that emulates a wetland?

GC: The water is the vital, primordial and indispensable element. This is also the mirror that reflect and increase sensations by visual evocations.

The delicacy is enclosed in glass columns in the second floor of this virtual art installation in LEA

EB: From the wetland to what reminds to a temple or castle made of crystal, displayed in abstract elegance, with soft light-colored columns like stained glass windows of a cathedral. What you wanted to show in this floor?

GC: The fragility and the mutability of women. The female sensibility express by the elegance of the lightness that waves between multiform color’s pillar.

EB: It’s amazing how you have created this crystal walls… which technique did you used to made them?

GC: I wanted realise a structure in that create an effect of this kind since much time. I have already searched to realise something of this kind in a smaller version, in Ice castle. Now, I have the opportunity to work with big dimension. The effect is obtained by a texture created by myself. Prims (basic unit of construction in Second Life) are also worked in a particular way.

The top floor of a large piano stair unveils the geometry inside Reflections

EB: In the centre of the second floor starts the ascension by what reminds to a large stair made with piano keys, grey first, but that change its colour and it moves trembling when an avatar walks on them, and in the top, an amazing geometrical view is unveiled. Why? What’s the meaning? What feeling did you try to evoke with this piano ascension?

GC:The stairs are a labyrinth of the mind in that rationality and the unpredictability are an amazing alchemy. The overlaps of the different flights can be like polyphonic music in that voices run and intersect to create the amazing effects. It’s difficult, almost impossible cross the stair but funny and intriguing too.

EB: You also call this piano stair “scale”, maybe playing a bit with words? (Music scale, piano scale, piano stairs)

GC: Certainly also the name of this piano bring again an essential report that blend music and art.

New Media Art inside 3D virtual worlds as Second Life

EB: How and why you started to create art inside a virtual environment, and specially in Second Life?

GC:I am a musician and a teacher in real world, so my SL’s adventure started for my wish discover the didactic possibilities of virtual world. Early the simply curiosity opened to new chances of experimentation. Since that moment SL become for me the land to create.

EB: A constant in your work is the delicacy. Maybe it’s because you are also a musician, but the shapes, colors and lights on your pieces are subtle and harmonious in contrast to other more Baroque artists. Is it a reflection of your inner state? Do you think that your musical education and career has any incidence in your artworks?

GC: I love too much softly forms. Light’s games and transparencies create different reflections become parts of myself. I like lighten the work without assail, but with strong incisiveness. Naturally our background always influences what we do. Unconsciously I work in the same way I studied music. I work on the technique, on the rhythm, on the movement and the like studying moves of the fingers on the instruments to produce sounds and the colour the piece. Instruments changes but the finally is the some: to gave birth what We have inside by our emotive conceptual journey, this time not like interpreter but like a direct creator.




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