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The Best Jacolby Satterwhite Directed Movies

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In the three years since her seminal album "A Seat at the Table", Solange has broadened her artistic reach, expanding her work to museum installations, unconventional live performances, and striking videos. With her fourth album, "When I Get Home", the singer continues to push her vision forward with an exploration of roots and their lifelong influence. In Solange's case, that's the culturally rich Houston of her childhood. Some will know these references - candy paint, the late legend DJ Screw - via the city's mid-aughts hip-hop explosion, but through Solange's lens, these same touchstones are elevated to high art.

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A film accompaniment featuring songs from Perfume Genius' newest record, Ugly Season.

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Reifying Desire Five features sensuous inventions of Satterwhite's mother's design. A reclining water seat holds five still 3D models of idealized black female nudes, postured in the manner of Picasso's Les Demoiselles d'Avignon. Flying above in a silver jumpsuit, Satterwhite spills digital globules of incendiary bubble bath labeled "Pussy Power" onto the women's enlarged pubic hair, then animates their bodies with multi-hued lasers. Transported to another realm, one of the women encounters a man who applies "lipstick for between the legs" to her. Consequently she sprouts an enlarged male member spraying digital Jacolbys, which another man eagerly spoon-feeds to himself. By queering his mother's fantastical re-imaginings of culturally proscribed self-care products as well as art historical representations of black female sexuality, Satterwhite pursues what he has described as an alternative, utopian space for performance.

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A short film directed by visual artist Jacolby Satterwhite, who translates Perfume Genius' music and choreography into surreal 3D landscapes.

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Interweaving digitally generated imagery with original footage, Shrines unfolds a late capitalist media landscape in which collective icons constitute and permeate both outside and inside worlds. Viral images from political news, pop, art, and film history invoke situations of biological threat and social tension, states of pharmacological dependence and carnal bondage. Moments of relief and liberation appear in analog film sequences in which Satterwhite stages his body as medium for processing these crisis-ridden realities. In this intersection of painting, performance, and video, Satterwhite continuously challenges a canon of Western art history, and proposes a possible mode of healing from systems of biopolitical, social and cultural exclusion.

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The latest installment in a six-part series, Reifying Desire 3 is a surrealist creation myth that stems from his ongoing collaboration with his mother. Satterwhite writes: “‘Reifying Desire 1–6’ will use 230 3-D modeled versions of my mother’s drawings, my body, and animated figures. The intersection of the disparate disciplines including dance performance, drawing, and digital media acts as an exquisite corpse strategy for guiding the storyline. Ordinary utilitarian objects become queered and repurposed in pursuit of defining a new utopian and nonpolitical space for me to perform in. The result is an overlap of visual trajectories between my mother and I—her private domestic documentations/inventions and my public reactions to pop culture, art history, and political histories.

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A two-channel epic: Birds in Paradise is a hybrid of 3D animated queer utopian dystopias and live-action cyber drag. Evoking an array of creative influences including Fluxus, Surrealist filmmakers, choreographer Anne Teresa De Keersmaeker, voguing, Hieronymous Bosch, the video game Final Fantasy, and Daft Punk. Featuring a soundtrack with his mother Patricia’s a capella recordings remixed into syrupy thick dance beats, Satterwhite’s video brims with pleasurable contradictions and brutal indictments of our age of ever-impending apocalypse.

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"Jacolby Satterwhite’s vibrant work weaves together performance, animation, and personal ephemera. His videos and performances build on household or cosmetic products that his schizophrenic mother imagined and sketched. Satterwhite traces these objects and incorporates them into a virtual world filled with family videos and recordings of the artist dancing and vogue-ing in bright, tight body suits. 'There are limits with what you can do with objects, because objects are imbedded with history, politics and all kinds of anxiety,' he has said. 'To put myself in a virtual world is a political gesture, negating all those associations.' Satterwhite’s worlds evoke the escapism of Afro-futurism and suggest a posthuman quasiutopic virtual reality."

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Described by its maker as an "Hieronymus Bosch Garden of Earthly Delights–inspired landscape," Jacolby Satterwhite’s video abounds with a raucous and celebratory energy as it combines personal home movies of a family cookout, renditions of his mother’s drawings, and multiple simulations of himself dancing.

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