The first four minutes of black video include excerpts from a series of interviews with Williams’ mother about the Greater United States (the US mainland and the precarious nature that it held with its territories). The animation focuses the Philippines' absence from American history textbooks, presenting the perception of nationhood formed from unlearned and fragmented contexts.
The protagonist is a balut (a Filipino fertilized and fermented duck egg). Americans eat duck, Americans eat duck eggs, but the thing as in-between makes it distasteful.
Stephanie J. Williams is a tinkerer and doodler. Her work primarily navigates hierarchies of taste, unpacking how “official” histories are constructed in order to understand contemporary social coding and the world around us. She received her MFA in Sculpture from RISD, has shown in Fictions, part of the Studio Museum in Harlem’s F-show exhibitions, as well as with Washington Project for the Arts, The Delaware Contemporary Museum, Grizzly Grizzly, |’sindikit |, Greater Reston Art Center and the Walters Museum as a Sondheim Finalist (2019), with residencies at Williams College (2021), the Corporation of Yaddo (2018, 2020), VCCA (2016), ACRE (2015), Elsewhere (2014), Wassaic (2014), School 33 (present) and Vermont Studio Center (2006). Recent projects include a Saul Zaentz Innovation Fund Fellowship (2020), Seamless: Craft-based Objects and Performance at Rutgers (Camden) and the Smithsonian American Art Museum Women Filmmakers Festival. She currently teaches stop motion for Maryland Institute College of Art.