Jacolby Satterwhite Keeps Reality Virtual / Hyperallergic

Jacolby Satterwhite, “En Plein Air: Abduction 1″ (2014), C-print in artist’s frame.

Jacolby Satterwhite, “En Plein Air: Abduction 1″ (2014), C-print in artist’s frame.

LOS ANGELES — Jacolby Satterwhite’s solo exhibition How lovly is me being as I am is born out of a maternal virtual hive mind. Satterwhite fills OHWOW, a spacious white cube in West Hollywood, with 10 large-scale C-prints from the series Satellites and En Plein Air, four nylon-and-enamel sculptures called “Metonym,” and the six-channel video “Reifying Desire.” The visual centerpiece of this show, for which it is named, is a purple-lit neon sign, which sets the tone for this exhibition’s breezy tour through a hyperactive virtualized video game imagination.

The artist makes appearances in practically every screen-like object in this exhibition. At once we see 3D animated videos of the artist-as-hero avatar bouncing and flying through the virtual universe, copulating with objects of desire (men), multiplying out of semen droplets spouting from a giant phallus (army), or destroying everything around him using a long, braid-like tail stemming from its head. No matter the space — whether it’s on a platform floating disc in the middle of a cloudy post-futuristic world as in “En Plein Air: Abduction II” (2014), or creating a giant fleet-like, air-roaming vessel in “En Plein Air: Vassalage III” (2014), Satterwhite makes each new realm more vast than the last. When he appears more physically in videos, we see Satterwhite fluidly voguing, twisting his body into various shapes and angles, parading into post-gendered territory.

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