rez Magazine May 2015 - Page 54

tions of the high level of her artistic accomplishment. In the moments ahead, all of that was about to change, and so was my life. As the curtain opened on Chrissy’s set, I had a strange sense as if the barrier between Second Life and real life was slowly evaporating into thin air, much like that mythical Scottish town Brigadoon that magically appears only one day every hundred years. I remember thinking for the first time that what was going on around me may indeed be a precursor of what art might look like at the end of the 21st century. I’m not really a “futuristic” kind of person. It’s true that a good deal of my time in the arts is spent thinking about “what might be,” but other than artistic vision, I’m deeply rooted in the present, trying my best to squeeze every ounce of life out of the moment at hand. While I do look forward to exciting projects ahead, I’ve never really stopped to think about what the arts might look like, even a hundred years from now. Several things stood out about Chrissy’s performance as it unfolded. The sets were outstanding – rivaling anything one might see in the theatre, or on any sim in Second Life. The dance itself told a complete story. It had moments of tenderness, moments of carefree abandon, and moments of great personal introspection. Above all, the characters in the scene ... in the dance