This work is a bit of a departure from the things that shellina has put here previously; little motion (and what motion exists is in an unexpected place at the top of the bars, rather than the seemingly dynamic form within), modest use of glow, and subdued colors. This time she is making a different statement, with the art and its title, about restriction of freedom. The form inside the bars looks like something that should be in motion; it’s a bit reminscent of the moving forms in the old video game, Qix. Perhaps the bars, by confining it to a small space, have prevented it from moving or taken away its will to move and change. I enjoyed seeing shellina stretch her boundaries.
I really appreciate the words you said about my work. there are too many points of view which usually lead us in experiencing the watching of a work and I like yours
This is a very successful if rather formal piece. I think that the forms work well, and even though it may seem simple at first, it is a more masterly work than might at first be aparent. As an SL artist who does a lot of tricky stuff it took me a while to figure out how this was done.
An essential element of producing formal work is the surprise and interest of seeing how the often simple forms combine to produce something unexpected. Knowing SL building intimately, or having seen a lot of SL artwork enhances this piece. There is a mystery and impossibility in it’s form which takes some time to decode.
This means the work requires a well informed audience to be truly appreciated. That aint a bad thing. The more abstract or formal – removed from pop symbology – a piece may be, the more an audience needs familiarity with the territory to respond to it. All abstraction suffers from this. For an audience familiar with this style of representation though the work is in no way diminished by this “barrier to entry”.
Iike it
Left by Pavig Lok on August 19th, 2008