Posted: September 28, 2012 | Author: Flora Nordenskiold

 

Rebeca Bashly just finished a new installation, Fabrica, on the grid Metropolis. The project is part of the Intergrid Metaverse Arts Biennial (IMAB), which is a six-month long metaverse art festival (it started September 6) including Metropolis, InWorldz, OSGrid, Craft and other Open Sim grids, and Second Life. For more information, check out Intergrid Metaverse Art. Rebeca Bashly’s Fabrica opening will take place on Metropolis on Saturday, September 29, 2012 at 1:30 PM SLT. Creating an account on Metropolis is very straight forward and you can use the same viewer that you use in Second Life. Check out Metropolis for instructions on how to create an avatar.
 
I created an avatar, logged into Metropolis and met up with Rebeca to take a look at her new work, an awe-inspiring installation. The original textures are fantastic, the objects are unique and the overall product, a dark and surreal whole, leaves a strange melancholy impression. But more than anything else, it is the use of symbolism that stands out here. One enters the large, industrial-like metal build through a hole in the wall. Narrow, metal grid bridges over muddy water and ladders leading into holes in the walls are found throughout and serve as connecting points from one space to another.

At first, we find ourselves in a room in the factory surrounded by small earth parts, on which are positioned light bulbs. Rebeca explains these are “breeding thoughts.” Next, we cross the bridge and enter a space via a ladder and find ourselves in front of a never-ending-typing typewriter on a small table; the pages keep moving down on the floor below. In the next room there are six rockets, each with a beating heart behind glass. The six passages for the rockets are in the ceiling. Then, a sewing machine where the needle shoots off sparks when hitting the metal surface. In the following space, we find ourselves standing amongst four enormous syringes hanging from the ceiling, positioned above faces of clocks right below the surface of the water. Rebeca hints that this represents ” a poisoning of time.” We move on and stand in front of an enormous hammer, attached to a pole, moving up and down, smashing to pieces the face of a clock. Again, here is a symbolic representation of time, perhaps suggesting that it does not exist.

Then, in another adjacent space, sitting on what seems to be piles of dark-pink, shiny, worm-like intestines, are two iron skulls on snails with wings and insect legs. Rebeca says that to her this represents that “anyone can grow a spine and be a winner over himself and ‘eat’ stuff that is ‘eating’ him.” Finally, in a large room amongst metal shipping containers, a head-less man sitting on a box, bent forward. In the containers, heads with cords and plugs, meant to be connected to his heart. There is a trace of darkness and the surreal in Rebeca’s work, so often also recognizable in Igor Ballyhoo’s work. So very beautiful. Head over and check out this exhibit tomorrow; please be on the look out for announcements for exact location on Metropolis.

Last, but not least, I’d like to take the opportunity to announce here the most recent publication in the CARP metaverse artist series, edited by Velazquez Bonetto, CARP Metaverse Artists: Rebeca Bashly. This stunning work highlights the most significant works of Rebeca, including her last one, Fabrica.

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