With pleasure, I welcome the invitations of Nevereux and SheldonBR to visit the last artistic exhibition hosted by the Daphne Art Gallery. For those who do not know, the Daphne Art Gallery is the art project curated by Angelica Corral and SheldonBR, created to host the best artists in the Esselian virtual world.
This is an important idea, developed further on their DAPHNE.ARTS site.
Being able to count on an ample space, the Daphne Art Gallery hosts several exhibitions/installations at the same time, offering the traveler a very varied artistic overview.
The exhibition on which I linger tonight is “Dolloureux,” curated by Nevereux.
Upon arrival, I was pleasantly impressed by the play of lights used. I state that it is essential to accept the variation of Windlight settings to be able to benefit from an optimal view of the performance. Why is this variation in lights and shadows so significant? There are two reasons, in my opinion. The first is that the brightness settings chosen by the artist create an illusory game whereby at first glance one thinks of being in front of sculptures and not two-dimensional images. The second is that the red lights also create a beautiful effect on your avatar, which mixes very well with the context. Taking pictures of yourself while visiting the exhibition is highly recommended because lights and shadows are set to obtain the best photographic results.
“Dolloureux,” tells about “dolls,” as the images clearly express. Here we are not talking about dreams or fairy tales, as the theme might suggest at first, but of Life. We are talking about pain, suffering, a theme dear to Nevereux and which she has excellently addressed in her recent artistic performance “Out of here” at the Nitroglobus Roof Art Gallery.
In the “Dolloureux” exhibition, pain and suffering concern more than anything else the relationship of the couple, described by the artist in her introduction to the present artistic exposition to the Daphne.
The artist describes “dolls” (which metaphorically represent the Woman) that lie halfway between complete distrust in Life and Love and the blind joyfulness of youth. This is the condition of those who have lived (and suffered), but do not want to lose the hope that Life has (yet) something to offer. I trust I do not trust? I believe, but not too much. After all, my (inner) beauty is given precisely by my experience (and suffering).
I believe that this is the meaning of the introductory words of Nevereux (or, at least, I interpret them in this way). The images of Nevereux reminded me a little of those of Awesome Fallen, another artist I really appreciate. In both cases, pain, as an experience of life that transforms the way of approaching existence, is the dominant theme of the image.
Wanting to make a personal reflection, the condition described by Nevereux is a situation of distrust typical of those who live from 40 years upwards. This is a time frame in which you are still young and eager to live, but you have made painful experiences that you would not want repeating (there is also certain tiredness towards suffering itself).
I enjoyed the performance of Nevereux, her originality and ability to range between styles (very) different from each other.