Saturday, September 20, 2014

An interview with Mikati Slade


Mikati Slade

     Mikati is an artist whose work is very recognizable.  It is a sophisticated 8-bit cone of candyfloss, and she is herself a sweet person.  I find her work fun and playful, often lifting my
spirits with her bright colour palette.  The work reminds me of games such as Super Mario with
a soundtrack by Crystal Castles perhaps.
Hope you enjoy the interview.

Mikati Slade
Bryn Oh: Where are you from?  And who are the most renowned artists from your country in your opinion?
Mikati Slade:  I am from Japan. I think Yoko Ono is the most renowned artist who's from Japan. I saw her work titled "Freight Train" at an exhibition in my town a long time ago. It featured a real freight train with a lot of bullet holes. At night, all the bullet holes illuminated with light coming from inside the train. The theme was quite serious, but also beautiful at the same time.

Bryn Oh: Often the average person outside SL is perplexed with virtual worlds in general.  When people unfamiliar with the virtual ask you what you do how do you explain it?
Mikati Slade:  One of the unique things about virtual worlds is the various cultures that form in them. Art, fashion, music, and other creative and social pursuits give rise to different cultures. This makes virtual worlds quite a bit different from other online game products. And this is the point that I try to explain to people who are unfamiliar with virtual worlds.

Mikati Slade - Kuru Kuru World
Takashi Murakami
Bryn Oh: Who are a few of your favorite artists and why?
Mikati Slade:  In virtual world, Bryn Oh (Canada) made works of great importance in the art history of virtual worlds. Her works gave me some of the inspiration for "KURU KURU WORLD" (2011, MiC: Museums of Rome Capital) which I consider as my best work so far.  Merlino Mayo's (Italy) solid sculptures always remind me of that special Italian beauty. I learned a lot from him and he's also opened many doors for me in Second Life's art world.  SaveMe Oh (Netherlands) is the real "avant-garde" art-performer in virtual world art. She is always trying to create real happenings and get real reactions from people.  Lastly, Maya Paris (UK) and Simotron Aquila (Italy) are among my favorite artists too.

     I learned the basis of visual creation by drawing the works of ancient Greek and Rome sculptors.
In the real, atom world, I find the works of Leonardo da Vinci (Italy) to be full of information and a sort of "universe" in their own right.  I consider Takashi Murakami (Japan) to be the best Japanese contemporary pop artist. He succeeded in joining Japanese pop culture with the western art context of virtual worlds.

Bryn Oh: Whose artwork do you personally dislike the most and why?
Mikati Slade:  No comment! @_@

Bryn Oh:  Which of your own works are you most proud of?  Do you feel any failed and if so do you now know why?
Mikati Slade:  I am most proud of KURU KURU WORLD. It exhibited first at MiC: Museums of Rome Capital in 2011, and then at LEA: Linden Endowment for the Arts in 2012 (as part of PICO PICO LIFE). It was themed on the cyclical nature of human civilization. It consisted of six large areas that featured Japanese pop 8-bit pixel-style buildings. More than 50,000 people visited the two exhibits. It was a big break for me. In addition, it was the first time I ever used multiple separated areas to tell a story and I learned a lot from this.  I am also proud of BUDS (2011). This was one of my earlier works. It was themed on the Fukushima disaster of March 2011 in Japan. I made the artwork a month after the disaster. At the moment, the situation was still desperate, so I tried to express some hope for the future through it. The artwork featured bud leaves and children as symbols for a new tomorrow.
I do not feel as if any of my works failed, at least not in a big way :) I am always critical of my own past works and try to improve the next time around.

Bryn Oh:  Do you have a method when creating? If so how does it often progress?  For example do you sketch or write out ideas first for weeks or do you perhaps just jump directly into the project with little planning and adapt as you go?
Mikati Slade:  At the beginning, I try to visualize the visitors' probable view frames. What would they see when they visit and explore my artwork? This determines the scale of the artwork and the placement of its most important parts. After that, basically I start to build it right away. I care for the physical in my artwork very much and I receive good feedback when I can interact with the structure and touch its various parts. Second Life is great for seeing and experiencing the artwork while it is being worked on.

Bryn Oh:  What are you currently reading, listening to or looking at to inspire your work?
SL9B Cake stage

Mikati Slade:  Recently I enjoyed reading "Otaku: Japan's Database Animals" by Japanese philosopher Hiroki Azuma. The book is about Japan's otaku culture in the postmodern age - how the otaku simply play with elements from their "cultural database" without being interested in telling a bigger story. "DAICON IV Opening Animation" (1983, Japan) is one of the most important sources of material for the otaku.

Bryn Oh:  Does your work have an overall theme and if so what might that be?  If not please describe how you tend to pick your topics.  
Mikati Slade:  The overall theme of my work is simply "positive energy for life". Our world and life is merciless and disappointing many times. So I try to cheer everyone's life around the world with my work.

Bryn Oh: Have you ever had to deal with negative publicity or a disappointing rejection of your artwork?  How do you deal with it?
Mikati Slade:  Basically I had not :D The virtual world is an international place and we have people from many different cultures in here. So I have always cared to communicate with them through my art using simple and direct ways.
image by Paulina60 Loon
Bryn Oh:  Would you like to take a stab at explaining what defines virtual art?
Mikati Slade:  Ok. Virtual art is art that is made for and exhibited in a virtual world. The virtual world is a new medium for art. And it differs in many ways from other mediums. For example, in a virtual world, the concept of gravity is an optional one. You may choose to ignore it. This means that virtual worlds could offer unique contexts for object shaping. Virtual world artists can use these unique contexts to develop new artistic expressions.

Bryn Oh:  What would you say makes virtual creations unique over other art forms?
Mikati Slade:  Two reasons. First, this is a virtual world. Making and viewing art here is highly immersive. It is easy to be drawn into and absorbed by the art. Second, anyone around the world may view it. Where they live doesn't matter; there are no nations here.

image by Mexi Lane
Marcel Duchamp - The Fountain
Bryn Oh: Centuries ago there was no such thing as an "artist" just craftsmen, as time progressed superior technical ability and creativity created the elite "Master" artist whose work stood recognized above all others.  In 1917 Marcel Duchamp submitted a work entitled "Fountain" to the Society of Independent artists.    He stated "... He (the artist) CHOSE it. He took an article of life, placed it so that its useful significance disappeared under the new title and point of view created a new thought for that object"  He wanted to shift the focus away from technical craft to more of an aesthetic intellectual interpretation.  Some say that because of him almost everything is considered art today.  From an elephant painting with its trunk, a Banksy, a child's drawing to someone vomiting paint onto a canvas.  What is your perspective on this?
Mikati Slade:  Marcel Duchamp is one of the
image by Torley Linden
biggest artists of the twentieth century. His work opened up new possibilities and started a new trend in art. Duchamp's art was regarded as something that was very different from classic art. But, really, the two are not that different. Classic painters used dye on a canvas, Duchamp used regular objects. The materials were different, but art is more than just the materials used. Observation (which leads to the acts of "choosing" and "placing" of the materials) is of the utmost importance in art. Artists have to learn through observation what will work or not, which approach will be most effective. Duchamp and other great artists were masters at that. Observation gives rise to "signs" and "meaning", the "conceptual". Duchamp's art was conceptual. Really, though, all art, both before and after Duchamp, is conceptual as it is borne out of observation. Observation is at the root of all art.


Little Bee Visits Kuru Kuru World from Little Bee on Vimeo.
Mikati Slade is a digital artist based in Japan. Studied classical sculpture and drawing at an art university in Tokyo. Earlier work includes illustration and graphic design on print media. Later work includes digital sculpture installations in the popular online virtual world of Second Life. Currently preparing to open a sim in Second Life.

(E-mail) mikati.slade@gmail.com
(Facebook) https://www.facebook.com/mikati.slade
(Flickr) https://www.flickr.com/photos/mikati/

Tuesday, September 16, 2014

Flappy emerges


 My little caterpillar friend emerged as a Monarch Butterfly.  I wonder what it must be like when they first come out.  The enter their pupa as a long slow moving caterpillar with many tiny little legs then seal themselves up and turn into a goo.  The goo reassembles itself into a completely new shape with long thin legs and with wings that, after just a few minutes of flying, have taken it further than it ever roamed as a caterpillar.  I wonder if they remember their previous life as a
caterpillar and marvel at the new long legs and then discover an instinctual urge to fly, or more likely I guess, they simply emerge knowing.  As a Monarch butterfly they now will live a few weeks and will fly as far south as they can before continuing a new generation, which will follow the same steps over and over until reaching Mexico a remarkable 3000 Kilometers away (1864 Miles for the Americans reading).
On the map to the right I live around where the upper red 2 is.   Chompy/Hangy who I shall now refer to as Flappy snuck out of his pupa and was hanging when I came to check up on him so I did miss that spot where he somehow gets out of the pupa.  Maybe they bite their way out, so I found him or her hanging off the empty pupa shell drying her damp wings.  She stayed like this for the entire night and was there the next morning.  She sat on my finger for a bit warming up and then I put her on a nice sunny leaf and when I came back from making coffee she had already started her journey to Mexico.  Good luck Flappy you can do it!

Monday, September 8, 2014

Bryn Oh retrospective 2007-2014

    Starting in October there will be a full region retrospective of my work which I am setting up for a digital festival called Arts & Algorithms  running in first life from October 3-12, 2014 in Titusville, FL.  The event will also have an avatar stationed on Immersiva for the guests to use to navigate the Singularity of Kumiko.
     I have never done a retrospective of my work before so this will somehow encompass the years from 2007-2014 ... approximately 100k of work on a 15k sim (feels headache beginning).  So what I thought was to see if anyone had some favorites which they would like rezzed or perhaps portions rezzed.  Check the list, and depending on how old your av is, then you will perhaps remember some and wish to see them again or maybe there are some you missed.  Let me know in world if you have any you think I should include or leave a comment after this post.

     I have listed my works in order and have not included the smaller ones or single sculptures.  So for example the ones listed below tend to be more elaborate narratives, where I also did stand alone sculptures that didn't have, hmm, I guess duration to them.. you just looked at them as an aesthetic piece, and those I have not listed here.  Oh and I just uploaded Condos in Heaven for this retrospective as it, well my whole Blip TV account, was deleted by them without warning.  Thank you Blip arseholes.  The machinima is from 2008, so a bit dated, but I still like it.  I am fond of it as it was one of my first conceptual works with an immersive feel to it.

So if there are ones below you would like me to include let me know and I will try to fit them in.  Each has a link to its respective machinima if you need a reminder which they were.

Gashlycrumb Tinies (2008)
Condos in Heaven (2008) 
7 Backspaces (2009)
Angler Girl (2009)
Daughter of Gears (2009)
Vessel's Dream (2009)
4Jetpacks4 (2009)
Willow (2009)
The Rabbicorn Story (2009)
26 Tines (2010)
The World Expo Shanghai regions 1 (No Light) 2 (No Colour) 3 (No Sound) (2010)
Lady Carmagnolle (2010)
Format (2010)
Mayfly (2010)
Avatar Games (2011)
Rusted Gears (2011)
Box (2011)
Anna's Many Murders (2011)
The Path (2011)
Gretchen and Teddy (2011)
Family Unit (2012)
Further Along the Path (2012)
The Cube Project (2012)
Standby (2012)
Virginia Alone (2012)
Imogen and the Pigeons (2013)
Dance of Death (2013)
The Singularity of Kumiko (2014)
Golden Age of the Russian Avant Garde (2014)


Wednesday, September 3, 2014

Hangy the pupa


     I know many of you have been rolling about sleeplessly in bed at night wondering how Chompy is doing.  Well, he has now turned into a Pupa or is it Chrysalis? anyway he is now vigorously changing into a Monarch butterfly.  He is turning into something completely different so I was thinking he deserves a new name.  I decided to name him Hangy the pupa.  I am pretty happy as I was able to get a picture of Hangy at a stage half between the caterpillar and the pupa which I have never been able to see before.  But I still missed the part just before the green hanging bit below.  It happens pretty quickly, so if you are not paying attention then they can suddenly be a pupa.  Oh well next time I will catch it, though I guess I could always Google it but I don't really want to.  In fact, now that I think of it, Google is the most anti climatic way to discover things.  I mean it is useful naturally to find out whatever you want in a moment, but instant gratification of that sort really takes the wonder out of finding things for yourself.  The internet is the Coles notes of life.  Ah Coles notes are just Canadian.. ok then the Cliffs notes of life.
     One of the most amazing things to me (besides the metamorphosis that happens inside the pupa) is the pure gold spots you can see on the pupa itself.  The pictures just cant do them justice, but they are more vibrant and beautiful than actual gold.  So if I recall correctly then it will be a few weeks before Hangy is ready to emerge as a butterfly.  Below is bug I saw which looks like a character from a Batman movie or something.

Definitely a villain though.  Look at him the sneaky little bugger. 




Monday, September 1, 2014

Bugs in jars

Milkweed
     Each year at this time, I try to find a Monarch butterfly caterpillar.  The best way to do that is to go to a field of milkweed plants and look for any showing signs of half eaten leaves.  Milkweeds are the plants with those invasion of the body snatcher pods that eventually get all crispy dry and let off their floating seeds.  In the picture to the left you can see how they got their name, the little bit of "milk" that is leaking out of it.    When I was a kid we used to dare each other to lick that milk for some reason, and let me just tell you that it tastes pretty terrible.  I expect after eating this plant for a while the caterpillars also would taste horrible to their predators, so its probably somewhat of a deterrent as well.
Chompy
 This year it has been pretty hard to find any monarch caterpillars for some reason, but I did manage to find one who I have named "Chompy".  My friend just informed me that I always name things by what they do.  For example Barky the dog, Stabby the Wasp, Bitey the Mosquito and so on.  Chompy was vigorously eating a leaf last I looked at him, much like how people eat corn on the cob, anyway I stand by the name Chompy.    In a few days he should turn into a Pupa and then in a week or so he should emerge as a lovely butterfly.  Here is a film I made of one from a while ago which I was able to film and post on Flickr.  His name was Lego btw so not sure what my friend is talking about.  He sat on my finger and I was able to capture him on film just as he flew off, that was exciting.



pile-o-wtf

     Later the same day I saw what I thought was a little fabric pom pom on a leaf, but when I looked closer it was this thing on the right.  I have no idea what it is, but it is now also resting in a mason jar and I will let you know if it does anything interesting.
    So wow finding two interesting things in one day you say.. well actually I went to Presqu'ile provincial park today as well and as I was hiking this massive caterpillar began crossing the road.  He was going remarkably fast and when I tried to help him cross the street (didn't want him to get squished) he got all vigorous and wiggly, not to mention he had what appears to be a spike on his bum.  Anyway, I like my caterpillars slow and docile so I left this one alone to his unnaturally rapid walking.  I did get this picture though.  I am not sure but I think he is a Horn worm.


Wednesday, August 27, 2014

Occulus Rift first impressions

Occulus Rift and Totoro
     Earlier this week I received my Occulus Rift DK2 in the mail and I was giddy with excitement.  I am not sure why I was so giddy, I am not really a hard core techno gadget person.  I think it's mostly because I love receiving unexpected packages in the mail.  I would probably enjoy an empty box but I digress. 
     Anyway, so the term "plug and play" really has no meaning to me.  It is supposed to suggest you can just attach something and voila! you are done its working.  That never actually happens to me with anything.   It's horrible really.   For the occulus this was manifested in the rift itself and my monitor screen showing two different orientations.  Actually it really started with my rift just showing the desktop screen regardless of what program was playing.  I eventually figured out that you could right click your screen and pick "screen resolution" which would let you tell your rift to show what was on the monitor.  The next problem was that the occulus would show the image on the screen as either horizontal or vertical, but the opposite of what the screen showed.  I didn't actually fix this but rather used a feature of my monitor which allows me to turn it vertical.  That's right, the image above is not squished but rather just on its side, and that is the occulus in the bottom right.  Kind of hard to see, what a terrible picture.  Anyway, after I had it all set up and working I downloaded the bus stop scene from the movie My Neighbor Totoro.  You can see on the screen that the image is doubled with two Totoros as the occulus is actually considered another monitor for your computer, and needs to double it so that each eye has an image. 
     The experience was pretty cool.  The resolution was decent but will likely get much better and I was able to hang out with Totoro for a good long time before starting to feel a wee bit nauseated.  It was nothing terrible, no projectile vomiting, but it is something they are working to fix.  Another issue is that when wearing the Rift you can't see the keyboard, so typing is out of the question.  I expect either a template for the keyboard and maybe gloves will be created by some entrepreneur so that when you look down you can see a ghostly image of both hands and keyboard, or more likely, content will be created bypassing the need for typing of any sort.  When I imagine my next artwork for SL I could make it Occulus compatible by making most things work by avatar proximity.  So if you walk within a range of something then it activates a voice to narrate or a door to open etc.  It wouldn't really be too hard but it could take a lot of planning to ensure that the unique traits of a virtual world, specifically the users ability to interact with object on their own terms, is maintained rather than forcing the viewer to follow a scripted path.  The artwork must be open ended allowing for choice, so hopefully the Occulus (in the short term anyway) wont, out of necessity due to its limitations, force creations to take a step back by making them more linear.
Nerds throughout time
After wearing the Occulus for an evening I was pleased to find this image on the left of a man wearing an, at the time, modern diving suit for a picture with his wife.  It was reassuring for me to know that nerds have existed for all time, and then, in my mind, I imagined their conversation.

"Baby, so I decided to wear my new diving suit for our picture!"  "You are fucking with me right? take that shit off!" "But baby it's high tech!, so modern and cool, I can walk on the bottom of the ocean in this thing!"  "Go back.. in the changing room.. right now.. and take that shit off...  you are not wearing that for our daguerreotype family photo."  "Oh but baby please all the guys think its the best!, Reginald wanted to wear it but I said no, so he had to wear his top hat. But I let Sturgeon Bill wear it and then he shared his snuff and tea with me" etc etc and she grudgingly let him wear it.  I must admit that I do feel like a big nerd wearing this headset and it really doesn't help that my friends laugh at me in it, but on the plus side I have no intention of sending out Christmas cards while wearing it.  So on occasion I will do a post here or there about things I am discovering, and I have yet to try it with Second Life so will let you know how that goes.  It is still a very early beta, but if you like the idea of getting the developer kit to mess around with (and help me figure stuff out) then you can get one here.  And it should also be mentioned that there is a viewer made for use in SL called CtrAltStudio where you can download the viewer if you already have an Occulus.  I think the default Linden viewer might be compatible too but not sure.

Sunday, August 17, 2014

An Interview with Nessuno Myoo




Nessuno Myoo is a graceful, charming artist with a wonderful sense of composition and colour harmony.  His palette is often that of earth tones or as a Brunaille.  In my minds eye his compositions are often characterized by long thin lines and angles.  A master prim artist whose work shows that it is not about using mesh or other tools but rather the ability of the artist which matters most when creating.

Bryn Oh:  Where are you from?  And who are the most renowned artists from your country in your opinion?


Caravaggio
Nessuno Myoo:  I was born in Italy, where I work, and I live with my family. Under the artistic point of view, Italy is a truly amazing country, it is literally 'immersed' in Art. Everywhere you look, it brings the signs of a past that makes us proud. Our artistic culture has influenced much of the occidental artistic culture. I am referring to the Italian Renaissance: to what geniuses such as Leonardo da Vinci or Michelangelo or Raffaello were able to accomplish and before them, Dante Alighieri with his Divine Comedy. It's very difficult, for this reason, to think you have to choose a few names, leaving out others, especially having neither titles nor the knowledge to do so, as in my case. Secondly despite having embarked, for a short period, artistic studies in more 'classic' meaning, my culture has certainly been influenced most by those forms of art that we could define modern, such as cinema or pop-music. I'm thinking about the work of Federico Fellini or that of Vittorio De Sica, to give two examples that everyone can recall to memory, or that of Sergio Leone, but also to that of Roberto Benigni, to the comedy that goes from the 50s until today, to actors such as Anna Magnani, Aldo Fabrizi, Totò, Peppino de Filippo, Vittorio Gassman, Alberto Sordi, Nino Manfredi, filmmakers like Carlo Verdone. In music I loved the poetry of Fabrizio De Andrè, or the genius of Giorgio Gaber, the visionary power of Enzo Jannacci and the purity of Lucio Dalla, the fragility of Mia Martini. Coming back to painting, I love the way that many subjects represented by Caravaggio emerge from the shadows, to be lapped by the light (I remember I talked about this to you), or like at the beginning of last century, Giorgio De Chirico imposed some of the most powerful and evocative images in his metaphysics. I am quite confusing in my considerations, I admit it, but I repeat, it's difficult to choose only a few of them. I live in a country that is synonymous with the art.

Bryn Oh:  Often the average person outside SL  is perplexed with virtual worlds in general.  When people unfamiliar with the virtual ask you what you do how do you explain it?

Nessuno Myoo:  It's true, when someone asks me what is Second Life, and what I am doing all this time, day and night, in front of a computer monitor to play around with mouse and keyboard... not always it's  easy to explain. Maybe they think I have problems of socialization or maybe I'm allergic to sunlight. Who knows? It 's easier to make them understand that this is an enormous game involving tens of thousands of people from all the world. The 'playful' idea of the videogame is more acceptable than that of a 'virtual reality' lived like experience of personal growth, in various fields, but in the collective imagination, unfortunately it still has undefined outlines. This is related to the fact that, up to now, virtual worlds represent a limited and niche reality. So in my country. To go back to your question, I strongly believe that does not exist a better way to explain the virtual reality than to invite people to try it firsthand.
  

Bryn Oh: Who are a few of your favorite artists and why?

 

Nessuno Myoo:  Seven years of activity inside a virtual world, such as Second Life, trying to make a living reason of my sculptures, they are a long period. Very long. In such a long period, you will inevitably meet, learn, and often weave relationships with a multitude of artists. There are some to
Kicca Igaly
whom I am close because I respect and admire their art and for a sincere and deep friendship, as Lion Igaly, Jeb Soderstrom, Solkide Auer, Shellina Winkler, Maryva Mayo, Gleman Jun, Zhora Maynard, Giovanna Cerise, Daco Monday, Aloisio Congrejo, Tani Thor, Nino Vichan and of course Kicca Igaly. Particularly with Kicca, I still work in close contact,  and from her I learned and I continue to learn immensely. In addition to these, there have been, over time, some 'legendary' figures whose encounter radically changed my way of thinking about digital sculpting. In addition to excellent names that have given luster and wonder at the dawn of SL as Starax, Cheen Pitney, Light Waves or Madcow Cosmos, I confess that one of the first and most powerful of these legendary figures, was you Bryn. Years after arriving for the first time and finding Immersiva, heart in my mouth, your works - it comes in 2008 - it seems incredible to me that it is you, today, interviewing me inside your blog. Crazy! The way you create has represented a watershed moment in my sight, between what I had done until then and what I wanted and could do in a completely new way. The discovery of your work was really like having the keys to open the doors that led into terrible and beautiful rooms in which I knew I'd lost. Making an analogy, I could say that I have enjoyed your work with that same joy and the same terror with which years before, in the middle of adolescence, one of my favorite 'fantastic' writers, Howard Phillips Lovecraft, had kept me glued to the by now yellowed pages of his tales and novels. Thank you so much for all of this. Another of the artists that I loved and love you so


much it was and is certainly AM Radio. Both from the point of view of technical and expressive. In my opinion no one ever as he is able to evoke so well some of the most delicate and poignant echo of melancholy around inanimate objects, able to recall memories and images of a sepia-toned past. Looking at his creations you will be enraptured and frequently, around, creating an almost mystical silence. I love his works, and every time I happen to encounter them in SL, I can not do anything else to get close to them on tiptoe. Finally, I want to pay tribute to one of the most amazing artists I've ever met in the last two years, for technical ability and talent in infuse life into his creations, frequently marked by a taste for steampunk and a wealth of details so explosive as to be almost baroque, breathtaking with emotion, I'm talking about Yooma Mayo: I watch to each of his new works with the same joy of a child who has just been given the most beautiful toy! God... if I think the good fortune to have had the opportunity to enjoy all this beauty! But the names that I'd like were followed more carefully by everyone are so many. I'm thinking to Rose Borchosvky, Rebeca Bashley... or Cica Ghost, even to mention only one of the latest and most interesting novelties that has already had the opportunity, on several occasions, to confirm her undoubted and personal talent, in telling her stories. So many names really. Too many to name them all.

Bryn Oh: Whose artwork do you personally dislike the most and why?
  
Nessuno Myoo:  I hate all those jobs, or all those works, or all installations, where the authors do a great use of mannequins, sculpted or mesh. Full-perm artifacts available in the SL marketplace, or imported into SL through free external libraries, which are not the result of their work, of their hard work, of their creativity, of their own construction. They appear to me anonymous and absolutely expressionless. What's really funny is that, at a superficial glance, it might seem that all of these 'artists' have developed the ability to work the same sculpted or mesh. A skill that for some unknown reason, however, is expressed only in the production of identical human figures (...) Over the years we have had the availability of mannequins ever new better in the technical aspect, with added details also of great quality, but absolutely useless for use in a work of art or in an art installation. Besides, I find them terribly ugly. And the ugliness, in Art, assumes very precise value only when it becomes a means to tell something, and not when it's only the clear inability of being able to produce other, because they don't have the tools to do otherwise. I consider Art the highest form of language that man has ever had available in order to evolve. If this language is rich in nuances, dialects, accents, sounds, dissonance, images always new and different, then it has reason to exist and be appreciated. The uniformity instead flattens and impoverishes this language up to humiliate it and make it completely barren.
  
Bryn Oh: Which of your own works are you most proud of?  Do you feel any failed and if so do you now know why?
  
Nessuno Myoo:  Seeking to answer your question, I did a kind of mental journey back through time, trying to find an answer as close as possible to what I feel inside of me today. I'm quite attached and proud of many of my works. For various reasons. Not all of them of course. Besides the series devoted to the world of music and musicians, which I opened in 2008 with the sculpture named 'Trio Jazz' and that includes the last coming in the last year called 'Voices', I am so proud of all those dedicated to some of my favorite horror writers, contained within the anthology presented in 2011 on the Mic island, edited by Mexi Lane (aka Marina Bellini), entitled 'Tales in the Shadow'. I really love also 'Back To Home', because it tells very well the story of a voyage that I feel intimately mine, or 'Until To Touch The Clouds', because it represents an emblematic condition for many, even if really lived by few. Also I love the lyricism and sheer madness of 'The Strange Coincidence', initially
with Kicca Igaly - Image taken by Ziki Questi
inspired by a scene in Stanley Kubrick's Full Metal Jacket and then become something else, completely uncontrolled and uncontrollable... so full of details that only a mad could have created: for example, the only toothbrush has almost 300 prims. Also I am affectively and emotionally attached to 'As An Angel In Search Of Colors' which I think is a higher level in many points of view, not just the technical or stylistic. Among the large-scale installations I like to remember the first one I made ​​called 'Life Again' or the one presented in the last project curated by the LEA together with Kicca Igaly named 'DangerInEvolution', last year. So even in this case it is really hard to choose. I love them all as if they were children. But since I do not have children, then I can say I love them as if they were my parents, because they understand me and offer me protection and security. In front of them I do not need to be different from what I am. Regarding the second part of the question, instead, I can tell you to feel myself totally inadequate and I have failed the target more than once, in all those rare occasions when I worked in very large groups. I do not know why it happens and what brings me to fail: the spirit or intent of the group, the purposes for which it is created. Perhaps in those situations I become really a kind of solitary animal.
  
Bryn Oh: Do you have a method when creating? If so how does it often progress?  For example do you sketch or write out ideas first for weeks or do you perhaps just jump directly into the project with little planning and adapt as you go?
  
Nessuno Myoo:  Oh yeah sure, over the years I think I have crystallized a 'modus operandi' that I respect every time in the same way, and that occasionally I modify a little only in very special situations. As the pattern of a serial killer. In SL I've never drawn anything before grounding the first cube of each work. Everything comes, grows and dies in my head. It begins with an image that becomes light in my mind. This image is suggested by anything... by a book you are reading, or a movie, a chat with a friend, a melody that filters through a window left open or a memory that resurfaces after years, held there in the warm under the blanket. It 'a powerful image, if you know what I mean, but not complete. Reflecting on this image, I suggest a possible way to follow: a theme. At this stage I do a bulimic search for information about it, I take, directly from the Web, most of this information, but also by other media that may be the most disparate. Each of us has a kind of 'sieve' within themselves and their own life experience, and uses it as needed to stay afloat just what you need at that moment. When the material is put together enough to start putting on something concrete and that makes sense in my eyes, I start to really build. Going forward, in the project, I add items always new and unexpected, that I would never have dreamed of taking into account only at the stage of just imagining it. I work slowly. Very slowly. Too slowly. Ok, for a careless eye I could actually seem completely immobile. But for me it is essential to work slowly. So long as observe what I do in construction. For a project completed in the time period such as a month, I use at least 3 weeks to observe what I've built. Perhaps adding even one prim, from time to time, or moving of only a few millimeters something that still does not convince me at all. Important: I use only native prims, not sculpted or mesh. Only SL native prims. It is damn tiring and I understand that it is foolish to believe. But I am not able to proceed in a different way. And basically I do not want to proceed in a different way. One aspect that always leaves me incredibly intrigued then, is the fact that at every start the final result is always very different from the original that image that I mentioned above. I think it's a good incentive to go forward: the curiosity to see how it will end every story that you start to write through digital sculpting. And every time I fear that it is the last one. And I am afraid that this beautiful thing that happens all the time unless I can explain it really, can suddenly stop working forever. Do you know that in a couple of occasions I've even found myself thinking that I could stop living? It would be a shame, if for no other reason I would not have had a way to finish the work I was doing, Crazy but true.
  
Bryn Oh: What are you currently reading, listening to or looking at to inspire your work?

  
Nessuno Myoo:  While I am committed to building I can't do more than that. My concentration is totally focused on that. If your question is what I read, watch or listen to inspire me a new idea for a new work to be done in SL, as I said above, it is different from time to time. Every situation can be an inspiration, just that you know how to read between the lines of reality that we have in front of our eyes, not just the physical ones.  
Bryn Oh: Does your work have an overall theme and if so what might that be?  If not please describe how you tend to pick your topics.
    
Nessuno Myoo:  In truth, a kind of thread that ties all my work exists. And in many cases it is sensationally obvious. In other cases it's more hidden, and it's hard task to be able to discover it. I'm talking about that aspect related to what I call 'fragmentation of the human figure'. A constant research devoted to the dismemberment of the figure, which implies a rejection of bodily imperfection, to transfigure into soul. If you like, my rather simple expedient, it also serves to emphasize a dogma, which wants a human being in a constant search for what completes it. Whether it be a person, a passion, a love or an object. The metaphor is always the same. Another aspect, absolutely not secondary, which binds all my work is also tenacious research of the movement, sublimated in volumes, shapes, and lines, although it's completely absent the use of SL-scripts, and other stratagems. 
Bryn Oh:  Have you ever had to deal with negative publicity or a disappointing rejection of your artwork?  How do you deal with it?
  

Nessuno Myoo:  Yes, in one of the most delicate moments of my path, in SL, I received, in more or less direct way, accusations about the lack of originality in expressive language adopted. Initially I suffered a lot of these accusations. I could not comprehend how it was not obvious to everyone the difference between my expressive trait and that of others. The way I work every single prim, I model it, I dress it, and finally I illuminate it, placing it within a composition never boring and always refined. I thought deeply unfair that all this was not recognized me. Then, little by little, they began to appreciate it I think. More and more. And perhaps to understand it. However, I still can not understand  the fact that some of the greatest creators of machinima in SL have, mostly, overlooked or overshadowed many of my best works. What a pity! It could be a great opportunity for me to rediscover them in a whole new look within their sequences. We are able to accept these types of waste and disappointment, and to go ahead anyway, only with a great conviction in what we do. There are no other alternatives. First of all I build for myself. 

Bryn Oh:  Would you like to take a stab at explaining what defines virtual art? 

Nessuno Myoo:  In fact, I strongly believe that the whole Art, in the past, in the present, in the future, can not ignore the condition of being, by its very nature, intimately and inextricably linked to the virtual aspect of all things. After all, if we think about it, who makes art, using the means that history, through technological evolution from time to time supply it with, does nothing more than projecting with the imagination in a virtual space, where to take with enthusiasm, to those fantastic visions that his sensibility then turns into something else, which can be appreciated and enjoyed by all humanity. And this happens all the time. And ever since. In my view, therefore, to speak of Art and Virtual, is to speak about the exact same subject. In addition to being a good escamotage through which you can avoid a stab.
  
Bryn Oh: What would you say makes virtual creations unique over other art forms?
  
Nessuno Myoo:  Every form of art has its own uniqueness given by the means with it is achieved. If I have to look for a "uniqueness" in virtual creations, such as on SL, this consists precisely in the fact that a work remains unique despite its multiplication. In the real world a work of art has a value and its copies have another, on the other hand, on SL the value of the various "copies" of a work does not imply a devaluation of the so-called original, because they are all original and no of them can be degraded to a reproduction of a unique copy. So, back to your question, we can say that, paradoxically, the uniqueness of a virtual work of art is manifested in the abasement of the concept of the uniqueness of the work. I think this is an extremely significant and revolutionary factor of virtual art without thereby diminishing it. Imagine if each of us could enjoy his favorite works comfortably at home, it would surely be not acceptable for the market, but the art would really be shared.
   
Bryn Oh:  Centuries ago there was no such thing as an "artist" just craftsmen, as time progressed superior technical ability and creativity created the elite "Master" artist whose work stood recognized above all others.  In 1917 Marcel Duchamp submitted a work entitled "Fountain" to the Society of Independent artists.    He stated "... He (the artist) CHOSE it. He took an article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object"  He wanted to shift the focus away from technical craft to
more of an aesthetic intellectual interpretation.  Some say that because of him almost everything is considered art today.  From an elephant painting with its trunk, a Banksy, a child's drawing to someone vomiting paint onto a canvas.  What is your perspective on this?

  Nessuno Myoo:  The question is not if anything can be considered art or not. It 'difficult to establish the limit beyond which a work of art ends up not to be or vice versa. A work that is an expression of only technique does not attract me as well as a work that is an expression of pure intellectual provocation. I can fully satisfy all the senses only when the two aspects find an equilibrium point, which I admit to be subjective. In the case of purely intellectual works I think it is important to be able to understand the honesty of the artist, of his thought, that really wants to communicate something or not.