The potential for religious iconography and overlapping mythologies drawn from disparate traditions is a hallmark of Satterwhite’s. An event that reads equally as Yoruba ritual and baptism. There is a solitary dancer that spontaneously bursts into flames and the sudden appearance of a wheeling carnival dissolving into vapor.Įlsewhere, on the adjacent channel, Satterwhite is being ritually unwrapped by a nude bather in a live action video sequence layered against a birds eye view shot of agitated blue seas. There are the larger performers in the center of the amphitheater, the aerial sentinel, the overseers on the steps freed from the pods that the smaller dancers sit inside, and the figures atop the jumbotron floating overhead. In this fantastic world, the only hierarchies, if any, are ones of size and visibility. A flying sentinel on winged horseback, cowboy hatted and gyrating in their saddle, orbits a suspended jumbotron in the sky and casts its searchlight at random over the dancers and twilit landscape. Their choreography is highly regulated, pared down to a clockwork of assembly line labor and geometric precision. The steps are a shelf of flames or flickering tongues.
In one of Birds in Paradise’s recurring vignettes, avatars dance on the steps of an elliptical colosseum set about a Beaux-Arts style garden. Released in tandem with his Pioneer Works show, the album features grainy, faded recordings of Patricia Satterwhite singing acapella over expansive house music. The score of this iteration of Birds in Paradise is taken from Satterwhite’s LP with Nick Weiss titled Love Will Find A Way Home (cover shot by Wolfgang Tillmans). Installation view of a room featuring works by the artist's mother Patricia Satterwhite included in You're at home, Pioneer Works, New York. © Dan Bradicaĭrawings by the artist's mother Patricia Satterwhite included in You're at home, Pioneer Works, New York. Lyrics written by the artist's mother Patricia Satterwhite included in You're at home, Pioneer Works, New York. If anything, Satterwhite’s practice involves a special gift for moving between the digital and physical world while erasing the order of operations.
In this show, Patricia’s work having twice crossed the boundary between our world and Satterwhite’s, re-enters ours as 3D printed sculptures, sitting on cabinets distributed throughout the space which, in turn, read as extrusions from patterned wallpaper designed by the artist and derived from the same universe as his videos. Her handwritten texts often end as architectural edifices in the artist’s digital world, writing that proves itself as habitable as any building.
#The shape of space pioneer works series
In addition to a main room featuring sculptures, videos, and a record store installation, there is the series Birds in Paradise (2017–19), a two-channel video installed in a black box theater and a room of drawings and writing by Patricia Satterwhite - his mother, muse, and artistic collaborator. In You’re at home, his exhibition at Pioneer Works in Brooklyn, these objects have migrated into our world. And what we call art, on this side of the looking glass, is a provisional form of communication between that world and ours that the translation of the other world into painting and sculpture, video and installation are Satterwhite’s efforts to showcase a reality that exists beyond the pale of what can be said about it. A world where all things touch ends if you change their tempos enough and there are no hierarchies of scale or value. A world in which everything flows and reality has assimilated the smooth transitions, bends, and breaks of dance music. Imagine that all the works of Jacolby Satterwhite are the suspirations of a single, continuous world. Installation view of Jacolby Satterwhite, You're at home, Pioneer Works, New York.
0 kommentar(er)
