The Andy Warhol’s SILVER FACTORY my historical reconstruction 3d

On the last 23 November 2011, in Second Life at Solaris SIM opened the PAD, Pop Art Display, which I attended in my particular environmental reconstruction of the “Silver Factory”, the historic Loft laboratory in the period 1962-1968 in New York of Andy Warhol.
My work consisted first of all in a historical research documentation, necessary for the reconstruction, by collecting material on the network, through the vision of cinema films, documentaries and video, then watching interviews with the protagonists of the Factory. The first problem was to understand how the environment space was made in plan with its openings and main functions, such as windows, bathrooms, corridors, entrances, exits, warehouses, etc. but also in height, on the ceiling with its traditional arcades, supported by pillars, and not least the definition of what kind of finishing, coating materials were originally used.

One of the key issues was the total lack of current references, because the original factory no longer exists, all material available, even if present in large amounts, (I found more than 230 photos taken in internal and external profile of the very few glimpses of views from the road) this space was always in a rapidly changing, with characters moving furniture that were constantly moved and accumulated considerable material for construction work and/or artistic events or shooting on film sets, concerts or just for certain work phases of large amounts of paintings, instruments, wood works, paintings and serigraphs.
Finally there was a problem of “space” or geometric number available in the virtual environment, meaning that the geometry or rather the number of prims available, was severely limited for my work, and this required an additional effort for construction and true reconstruction of many pieces of furniture or tools, often present in photographs or historical movies more in the inworld mode “sculpted”, this process is a bit much more complex, it will considerably reduce the space of simple primitives used for a structure, but this requires additional effort in the reconstruction work phase.

At the end of the reconstruction work, I found a pleasant surprise during my researches, that never end with working progress, the little discover was a plan drafted by the photographer Billy Name of the Factory, a very intersting sketch map but eloquent on the number of pillars, the vaults, the exact location of services and other ports, all confirmed exactly the work carried out so far that in broad terms was remained susceptible to small changes as a slightly higher ceiling height, to facilitate movement of cam avatars and visitors, because it was also intended to be used in future like public environment for the exhibition of works by artists inworld, giving a certain vitality of proposals events to the PAD whole structure’s armony.

The overall design of the PAD and team work was ideated originally by Matteus Taurog (coordinator critic), Zorro Hirvi (builder structural), Eros Boa (builder for paints in 3D) and then built up in the last 2 months of works with my further contribution Merlino Mayo (artist builder of the Silver Factory) with my Alt Xaan Allen I was also cobuilder of structural and individual works 3d in the whole PAD building, much of which was removed by me and reconstructed by others, due to subsequent  wrong attributions rules concerning the final effective work done, in the official comunications notes and web press so after this I decided that my work was “officially” only focused on the single historical reconstruction of the Andy’s Silver Factory about which I am still proud of.

To visit it please go here:

*notes of interest

* The first artist that comes to show at PAD was Rose Borchovski, Rose is the virtual alt of Saskia Boddeke and she is the creator of the Susa Bubble story. Here an old intersting interview with Rose from VirtualWorldsMagazine, she speaks about her talented art work.

** The first music event at PAD was the Concert Live by the very talented ENGRAMA group band, Lakua Arriaga (drums and song) and Pupito Helstein (guitar and song), with activity in Machinima examples too, so an intersting event to see how the atmosphere into the Silver Factory, could start and works, like a real art life progress of the structure and people, remembering the old original atmospheres with Velvet Underground perfoming in the real NYC Silver Factory. The Engrama concert have been thanks to the PAD officer Halixia Zenovka that found the group band and organized it, the event had a great partecipation with almost 100 presences and intersting polemics with Saveme Oh a well knowed artist in SLife.

*** The Virtual Silver Factory at PAD was visited from the avatar Bibbe Oh in Real Life Bibbe Hansen a real goers with her father Al Hansen of the  Andy Warhol’s Silver Factory in the 60s. She confirmed that general atmosphere and many details were correct.

**** The PAD Pop Art Display Project was also officially presented in Real Life in the last ARS IN ARA 2011, Social Media Week convention in Rome – Italy. at the presence of: Carlo Infante, Umberto Croppi, Francesca Barbi Marinetti, Fabio Fornasari, Paolo Brenzini, Marco Longo, Gianni Panconesi who presented PAD, Massimo Melica, Adelchi Battista,  Giovanni dalla Bona, Luca Spoldi, Ariella Risch of illycaffè, Patrizia Nofi. Photos.

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To visit it please go here:


Thinking about last night Art vernissage’s chat-voice debate on Second Life, at the famous artist Nessuno Myoo really intersting and wonderful sculptures show open called “Dream’s Prim” in the SaliMar’s Sim

the first of my thoughts at my awakening this morning was this famous song “I will survive” a remake performed from Petra Magoni ( italian singer with incredible outstanding voice).

Why this title “I will survive”?
The question from the Art expert Real Life galleries Mexi Lane was “Are you second life artists worried about your RLife aspect of your Art expression? About the preservation of your Art?”, “just for example, but what, into an uncertain future, if one day a Second Life’s grid activity will suddenly disappear, what will be left about your wonderful art sculptures from a lot of you artists?”. Well starting from this apparently innocent or provocative question, was following a really intersting debate between the people, builders, visitors present, about the art state into digital worlds and out real life link.
There was who said “you can put a lot of videos and make your own real life show”, and who said.. “you can call a professional RL blacksmith and ask to built your art sculptures!” and “for example Jeff Koons usually didn’t make directly his own art but call artisans who can made..”, Ect.
All these considerations were really intersting because the problem of what is Art into digital worlds, remind us one of the most important aspects into the art market history that is the fetish possessive feeling for the ‘unique’ master piece, the unique not repeatable real material part that cames from a potentially genius of art. This is the ‘disease’ called art collecting.
I think this is one of the most important aspect to understand why some kind of art found so hard to become famous, revolutionary or simply notable into art history. I think at this moment, digital arts seems more near to the firsts ‘screen savers’ (the first digital artists were called in this way)*(1) and more near to a video art, television artist performance, or something like that. There is a difference between “video” and “material” sculpture? I think yes, the way to share the property of the Art. The Andy Warhol videos with Edie Sedgwick factory girl, are still famous and important to understand his own art concept expressive line, but what if Warhol in his whole life did only videos? and did not any Brillo’s box, or Liz Taylor and Marilyn Monroe’s portraits? or materially painted Coke bottles repeat icons? Will be his art the same? probably I think No.

The problem is complex, we can’t say the ephemeral video art is not art, or theatre art or performer art, because this kind of arts are simply a real and respecteable art that need to be experienced, but what about digital sculptures? These seems to call something real, and what is real and what is not? I think, this is a question that can find answer only when we choose what is real and what not, what can really be hold and what not, what is really unique and what not. What will survive from digital arts from virtual worlds?