Jacolby Satterwhite

Thanks to everyone supporting my GoFundMe im near full rehabilitation. The infection came back moderately last month, I rehabilitated and It was drained. Now I’m in a strict remission phase with no shortcuts or rushing. The next 6 months are structured and non-negotiable: daily rehab with a physical therapist, a controlled in-home smart physicall therapy / gym setup recommended by my therapists to rebuild strength safely without exposing weak immunse system to infection, acupuncture, infrared light therapy to manage inflammation and support recovery, and a disciplined diet to keep my body stable while it heals. This isn’t optional—it’s the plan to keep the infection from returning and to avoid starting over. I’m in the final phase of raising money to sustain this level of care. If you’ve already helped, thank you—it’s why I’ve made it this far. If you can contribute or share, it directly supports this recovery system and gives me a real chance at getting back to my life and practice. This part is quiet, but it’s the part that decides everything. Much love, send anyone my link in bio and i am looking forward to reuniting.

Spotlight on Jacolby Satterwhite (@jacolbysatt ): Immerse yourself in the artist's animated 3-D video, "Shrines," a mythological queer landscape powered by a groovable soundtrack, screened inside an abandoned ballroom at "What a Wonderful World: An Audiovisual Poem," edited by Udo Kittelmann and presented by the Julia Stoschek Foundation at Los Angeles's Variety Arts Theater. Experience What a Wonderful World: An Audiovisual Poem," where Satterwhite's post-human avatars roam an apocalyptic terrain and figures including one that resembles Satterwhite himself perform next to virtual visages of his muses. Partially inspired by Caravaggio's painting "The Incredulity of Saint Thomas," "Shrines," 2020, inserts videos inside wounds emulating those of Christ's. This work is the last chapter of his "Birds in Paradise" video installation series. RVSP AT LINK IN BIO OR WWW.JSF.LA Satterwhite's body of work blends digital media, performance, and personal history to explore identity and community. Profoundly influenced by a childhood facing severe illness, he sought refuge in video games, eventually incorporating their visuals and pacing throughout his installations. His mother, artist Patricia Satterwhite, is another seminal influence—her remixed acapella vocals merge with club beats as the soundtrack to "Shrines," 2020. In addition to being featured in the 2014 Whitney Biennial at the Whitney Museum of American Art, Satterwhite has had solo shows at Contemporary Art Museum St. Louis (USA), and at Haus der Kunst (Germany). Support Jacolby Satterwhite as he navigates serious ongoing health concerns through their Recovery and Return to Art at gofund.me/eb3537f4b or via @jacolbysatt Link in bio. #JSFLA

This photo was taken during my pre-surgery hospital check. This is really happening. And this is the last stretch. I am $15,000 away from being able to walk into my final surgery without the terror of not knowing how I’ll survive the recovery financially. I’ve already gone through so much — years of infection, surgeries, interruptions, and rebuilding my life and practice from the ground up. This operation is what ends that cycle. It’s what gives me my body back. It’s what lets me live and work without constant medical crisis hanging over me. I don’t want to keep asking, but I have to be honest: If you can give anything — even $5 — it matters. If you can share this, it matters. This isn’t a metaphor. This is me trying to get to the other side of something that has nearly taken everything. Thank you to everyone who’s already carried me this far. I wouldn’t be here without you. Please help me close this last gap. Link in bio

First, I want to say thank you to @chanelofficial and @Art21 for the most beautiful birthday cake and for ushering in my first public event in almost a year. After everything my body has been through, being in a room again — with people, felt surreal, tender, and deeply earned. Yesterday was supposed to mark another kind of return. I was meant to read the manifesto below out loud at @OCDChinatown as part of their evening of artist manifestos. But my body had other plans, and I had a relapse into illness that made it impossible for me to be there in the way I hoped. So instead, I’m debuting it here -

7 weeks away from potentially getting a new humerous bone / non infected new arm - during my upcoming surgery. If you know anyone who can pass my fundraiser along to , have them donate to my gofundme to make this chapter possible. These past weeks, I’ve been back in my studio, working in short windows of strength, surrounded by forms from The Matriarchs Rhapsody. Holding them, refining them, printing them again. It’s the first time in a long while that my hands and imagination have been able to move forward together. I’m offering a small number of 3D-printed sculptures related to The Matriarchs Rhapsody as a way to help fund my upcoming surgery and the long recovery that will follow. These figures come directly from a body of work rooted in memory, care, inheritance, and survival—drawing from my relationship to my mother and the domestic, spiritual, and architectural spaces she built for me. The project was developed over years and has been written about by MoMA as part of its exploration of contemporary practices rooted in personal and cultural transmission. Each sculpture is a fragment of that larger world—intimate, tactile, and deeply personal. Making them now feels especially charged, as my own body prepares to undergo another major transformation. If collecting one of these works speaks to you, your purchase will directly support my surgery, post-operative care, and recovery. And if you’re not in a position to purchase, I’m also deeply grateful for donations of any amount to my GoFundMe—no exchange required, just solidarity and care. Being able to work again, even briefly, reminds me why healing matters. I’m trying to do as much as I can before February 11—before my body has to pause again—so I can enter this next chapter grounded in purpose, not fear. Thank you for supporting my work, my recovery, and my return to making. Link in bio 🤍

In the midst of preparing for my next surgery I’ve been able to return—carefully, deliberately—to making. These past weeks, I’ve been back in my studio, working in short windows of strength, surrounded by forms from The Matriarchs Rhapsody. Holding them, refining them, printing them again. It’s the first time in a long while that my hands and imagination have been able to move forward together. I’m offering a small number of 3D-printed sculptures related to The Matriarchs Rhapsody as a way to help fund my upcoming surgery and the long recovery that will follow. These figures come directly from a body of work rooted in memory, care, inheritance, and survival—drawing from my relationship to my mother and the domestic, spiritual, and architectural spaces she built for me. The project was developed over years and has been written about by MoMA as part of its exploration of contemporary practices rooted in personal and cultural transmission. Each sculpture is a fragment of that larger world—intimate, tactile, and deeply personal. Making them now feels especially charged, as my own body prepares to undergo another major transformation. If collecting one of these works speaks to you, your purchase will directly support my surgery, post-operative care, and recovery. And if you’re not in a position to purchase, I’m also deeply grateful for donations of any amount to my GoFundMe—no exchange required, just solidarity and care. Being able to work again, even briefly, reminds me why healing matters. I’m trying to do as much as I can before February 11—before my body has to pause again—so I can enter this next chapter grounded in purpose, not fear. Thank you for supporting my work, my recovery, and my return to making. Link in bio 🤍 https://gofund.me/6eb5f4559

On this New Year’s Eve, I’m pausing to reflect with deep gratitude—and also to speak honestly about what’s ahead. After months of fighting this osteomylitis stemming from childhood bone cancer, my markers have finally cleared enough to schedule my next surgery. I now have a date: February 11. Reaching this point has taken everything—medical endurance, emotional resilience, spiritual grounding, and the unwavering support of you all. As this year closes, I’m profoundly thankful to still be here, to be healing, and to be moving forward. This past year has asked more of me than I ever imagined, and your generosity has carried me through moments that felt impossible to survive alone. The upcoming surgery is complex—a reverse shoulder arthroplasty with tendon transfer and a muscle flap—and it will determine the foundation of my recovery. The months that follow will require time, care, and the ability to focus entirely on healing. I am now $25,000 away from fully funding this stage. Closing this gap means being able to move into surgery without delay, to have proper post-operative care, and to recover with stability rather than fear. It means not having to choose between healing and basic needs during a long, demanding recovery. As I step into a new year, I’m holding both hope and urgency. I’m doing everything I can—physically, mentally, and spiritually—to prepare for February 11. If you’re able to support, share, or help amplify this moment, it would mean everything to me. If you’ve already given, thank you for helping me arrive at this threshold. If you’re able to give again or spread the word, your support could be the difference that carries me across this final stretch. I’m entering the new year humbled, grateful, and determined to heal—so I can return to my life and my work as an artist, stronger and changed by this journey. Thank you for walking with me into the year ahead. Link in bio 🤍 support-jacolby-satterwhites-recovery-and-return-to-art

This portrait was made by one of my best friends @wamsaxman Sam Waxman while I was in the hospital, recovering from surgery—recreating Peter Hujar’s 1973 photograph of Candy Darling. I’m writing with deep gratitude. Because of you, I’m getting closer to my GoFundMe goal, and the care, generosity, and encouragement from my community have made an unimaginable chapter feel survivable. Your support has given me room to focus on healing while navigating treatment and recovery from osteomyelitis, and it continues to give me options as I prepare for the next phase of surgery and recovery—especially as needs and circumstances evolve. If you’ve supported, shared, or checked in, thank you beyond words. If you’re able to donate or help amplify this moment, it truly matters. Being able to close this final stretch would mean moving forward with greater stability, care, and focus on healing. Link in bio. With love and gratitude. 🤍

A celebração da negritude queer está no cerne da prática artística de Jacolby Satterwhite. Com uma abordagem transdisciplinar, através de instalações imersivas em mídias digitais e realidade virtual, o artista constrói mundos extraordinários, trazendo referências tanto da cultura visual contemporânea quanto da mitologia, onde rituais e fantasia se unem na exaltação da liberdade. Satterwhite participa da Bienal do Mercosul com duas obras: A Metta Prayer e Neverending Time Forever III, que, em conjunto, formam uma videoinstalação multimídia em quatro canais que combina música, iluminação, vídeo em alta definição e animação 3D – tudo criado pelo próprio artista. O título da obra A Metta Prayer é emprestado de um mantra budista cuja finalidade é o cultivo de sentimentos de amor e benevolência. Em paisagens fantásticas ou cenários urbanos gerados por computador, as personagens da obra subvertem a lógica dos videogames de ação, realizando coreografias, cantando e transmitindo mensagens positivas, tendo como trilha sonora uma house music de contagiante vibração gospel. Confira a obra de @jacolbysatt na Usina do Gasômetro, de terça a domingo, das 09h às 17h. Texto por Leo Felipe 📷: @thieleelissa.foto English version in the comments. Apresentado por: @petrobras Produção: Fundação Bienal do Mercosul Apoio Institucional: @unescobrasil , @tjrsoficial , @ccmarioquintana , @museumargs , @farolsantander , Procempa e Bancos Sociais, @instituto.ling , @institutocervantesportoalegre , @eflcultural , @instituto.rouanet , @fundacaoibere e @pucrs Apoio: @irigaray.guindastes , @lojaspompeia , @gangoficial , @riograndeseguros , @iguatemipoa , @agibank , @vulcabras.oficial , @dufriorefrigeracao , @roxcode.io , @brdeoficial e @art.hoteltransamerica Media Partner: @grupo_rbs Apoio Premium: @lojasrenner , @bluevillealimentos e @gerdau Patrocínio: @crown.embalagens , @caixa , @prefpoa e @governo_rs Patrocínio Master: @santanderbrasil @banrisul Financiamento: PRÓ-CULTURA - Lei Estadual de Incentivo à Cultura - #proculturars @sedac_rs #culturaessencial Realização: Lei Federal de Incentivo à Cultura #14BienalDoMercosul #BienalDoMercosul #BienalDoMercosul2025

@jacolbysatt in his new limited edition 𝙉𝙚𝙫𝙚𝙧𝙚𝙣𝙙𝙞𝙣𝙜 𝙏𝙞𝙢𝙚 𝙁𝙤𝙧𝙚𝙫𝙚𝙧 Shirt, produced on the occasion of the MACHINE LOVE exhibition at @moriartmuseum . Available now exclusively at the Mori shop in Tokyo and on @platformart_com via the 🔗 in our bio. _ Photomontages by Jacolby Satterwhite

Installation view of Jacolby Satterwhite’s work New World Order: A Metta Prayer installation in the exhibition MACHINE LOVE: Video Game, AI and Contemporary Art, Mori Art Museum, Tokyo, running until June 8, 2025. @jacolbysatt @moriartmuseum Photo: Takehisa Naoki Photo courtesy: Mori Art Museum, Tokyo

14ª BIENAL DO MERCOSUL apresenta JACOLBY SATTERWHITE Jacolby Satterwhite (Estados Unidos, 1986) é conhecido por uma prática que aborda temas cruciais de ritual, fantasia, liberdade e construção de mundo por meio de instalação imersiva, realidade virtual e mídias digitais. Utiliza uma variedade de softwares para produzir animações intrinsecamente detalhadas e filmes de ação ao vivo que compõem um universo cinematográfico particular. Essas animações servem como palco no qual o artista sintetiza as múltiplas disciplinas que abrangem sua prática como ilustração, performance, pintura, escultura, fotografia e escrita. O trabalho de Satterwhite foi apresentado em inúmeras instituições como o Whitney Museum, a Haus der Kunst, o MoMA PS1, o Studio Museum, dentre outros. Vive em Nova Iorque, Estados Unidos. // 14th MERCOSUL BIENNIAL presents JACOLBY SATTERWHITE Jacolby Satterwhite (United States, 1986) is known for a practice that addresses critical themes of ritual, fantasy, freedom, and world-building through immersive installation, virtual reality, and digital media. He uses various software to produce intricately detailed animations and live-action films that compose a unique cinematic universe. These animations serve as a stage on which the artist synthesizes the multiple disciplines encompassing his practice, including illustration, performance, painting, sculpture, photography, and writing. Satterwhite’s work has been featured in numerous institutions, including the Whitney Museum, Haus der Kunst, MoMA PS1, and the Studio Museum. He lives in New York, United States. // Patrocínio Master: @santanderbrasil @banrisul Patrocínio: @governo_rs e @crown.embalagens Apoios Premium: @lojasrenner , @bluevillealimentos e @gerdau Apoios: @irigaray.guindastes , @lojaspompeia , @agibank , @vulcabras.oficial , @roxcode.io , @brdeoficial e @dufriorefrigeracao Financiamento: PRÓ-CULTURA - Lei Estadual de Incentivo à Cultura - #proculturars @sedac_rs #culturaessencial Realização: Fundação Bienal do Mercosul e Lei Federal de Incentivo à Cultura #14BienalDoMercosul #BienalDoMercosul #BienalDoMercosul2025