The latest in a series of interviews with artists who have a significant body of work that makes use of or responds to network culture and digital technologies.
Emma Hazen: You’re working on Hudson Valley Ruins (2016), your forthcoming machinima film produced in the life simulation game, The Sims. What prompted you to start using The Sims as a tool to make your work?
Jacky Connolly: I started using The Sims out of a desire to work in 3D before I had learned any modeling. After a decade-long hiatus from the game, I had a serendipitous experience as I unearthed a forgotten toolkit of customizable assets and building tools.
I played the first iteration of The Sims obsessively between 2000-2003, aged ten to thirteen. The Sims was my window onto an inaccessible realm, a fantasy theater for enacting my imagined late teen years and early adulthood–a world without school where you could drive, sleep at a man’s house, or try out his heart-shaped hot tub. I would frequently role play as older women that I wanted to emulate, an amalgamation of various movie and book characters and cool teens that I would see at high school. I envisioned adulthood as a world of intrigue and possibility, a release from the ensnarement of a middle school nightmare. Real life could only disappoint these optimistic projections.