Still image from The Country Ball 1989–2012 (2012)
Kei Kreutler: Your video The Country Ball 1989–2012 incorporates traces of your mother's drawings in a computer-generated landscape, accompanied by footage from one of your family's cookouts in the 80s. The family video has a frenetic energy, which infects the piece. There is a moment, however, in which the work seems to slow down—when tracings of figures from your mother's drawings leave the din of the family video behind—that I found very interesting. It felt similar to that sensation of leaving a show, leaving a mass of huddled bodies, where it’s too loud but you don't notice until you leave, your ears ringing slightly. 3D animation seems to incorporate these changes in rhythm and narrative particularly well, so I was wondering how it influences the pacing, the loose narrative points, of your works.
Jacolby Satterwhite: The visual pace in my videos varies based on what motif or idea I am trying to assert. In Country Ball, I wanted to present a beginning, middle, that gradates. It begins with deadpan repetitive orchestra, full of folly and recreation, and a very slow camera. It evolves and collapses into an apocalyptic display of objectum-sexuality, where cumshots spew out of towering cakes, dance rituals erect trees, and ATM machines inseminate a middle class family into a giant. The camera in those scenes tends to be more erratic. I have a Walt Disney sensibility when it comes to object-perversion, animism, and anthropomorphism.