I’m Nim and I’m a Bryn-oh-holic.
Bryn Oh, is definitely one of the most prolific and successful creators in Sl.
She has created some truly profound art. sculpture, sim landscapes, poetry and machinima.
Most second lifers will have experienced her work in some way already, but her work is worth revisiting, often.
Tonight Rowan Derryth treated us to a rare interview with Bryn, who responded, interestingly, from a fetal postition.
Click the image to go straight to Immersiva
Bryn Oh:One of the first impressions that I got from Second Life was the feeling of a post apocalyptic world of empty malls and homes. I would enter a house to see things like a still steaming cup of coffee, Second Life felt as though everyone had just disappeared moments before I had arrived. A very surreal feeling.
….. Many of the insect and animal machines were an interpretation of this feeling where a few of humanities creations still slowly went about their business despite our sudden disappearance.
One of the ideas that is often present in my work is one where I imagine, through humanities greed and pollution, natures food pyramids collapsing as species become extinct. I imagined scientists manufacturing “place holders” to keep the food chain and pyramid intact and functioning.
I love her description of Sl. Yes, it often feels very ‘Marie-Celeste’-like and Bryn makes sense of this unique experience conveying it through her art. But it’s more layered than that, she tells stories, beautifully. Here’s a quick slideshow. I don’t want to show everything because the pics can’t do justice to the full 360degree encounter, only possible within the SL application.
Here is another excerpt from the interview, Bryn talks about creating virtual art.
(apologies for bad quality pic, full sim, you know how it is…hard to get everything to rezz at the same time. I spent the whole interview with my top MIA.)
Rowan Derryth: I could easily answer this question myself, but why do YOU think your work has been so successful here?
[15:36] Bryn Oh: Because my work is personal and it conveys emotion. It is introspective yet ambiguous enough to allow the viewer to see elements of their own life in each artwork. Not in individual pieces but rather as a whole within the large immersive narratives.
[15:36] Bryn Oh: Often people explore the stories alone, which allows them to subconsciously absorb the ambient sounds and kind of submerge themselves into a layer of immersion just below the awareness of their real life around them.
[15:37] Bryn Oh: Hours pass and they feel like they are in a different world, one which they can interact with rather that view passively like a movie. When they leave the story some compare it to coming up for air after swimming below the water.
[15:37] Bryn Oh: For a creator there are often barriers that prevent the artist from channeling themselves into their artwork.
[15:37] Bryn Oh: For example, if you have a good eye you can look at a painting and feel the emotion of the painter as they created it, if they were talented. Van Gogh or Munch are easily some of the expressive ones if you can imagine their brush strokes.
[15:38] Bryn Oh: Hmm how to explain.
[15:38] Bryn Oh: The barrier is the brush. It stands between your hand and the surface of the painting. It is a degree of separation which can dilute the emotion as it passes through.
[15:38] Bryn Oh: Someone who works in clay sculpture, for example, moulds the surface directly with their hands and thus the barrier is gone provided they don’t over work it and are talented.
[15:38] Bryn Oh: So imagine caressing the face of your lover. Looking in their eyes and running your finger down their cheek. The warmth and smoothness of their skin on yours. Imagine trying to let them know how you were feeling without using words.
[15:39] Bryn Oh: Now imagine trying to do the same with dark sunglasses on and wearing boxing gloves.
[15:39] Bryn Oh: So as a medium the barrier for a virtual artist is that you channel through a keyboard. So for me part of my success has been in being able to still channel emotion despite the tactile limitations.
Finally, please check out Bryn Oh’s work in-world, here in Immersiva, or search for her profile and check out her picks.
And for those of you who love machinima, her you-tube account is packed full of awesomeness. This video, however, is one of my favourite machinimas of- all- time.
Please make time for it, if you like this sort of thing.
Thanks for reading!
(here’s a little treat for anyone who read all the way to the bottom of this post, one of Bryn Oh’s older works can still be found here.Your avatar wont fit so you must use your cam to navigate inside the tunnel.)