In Tea Party, Goicolea successfully merges both his interest in adolescent angst and his understanding of the symbolism the forest holds, including what critic Jane Harris described as “…the world outside the rational, the mysterious unknown, the realm of sexual imagination.” For Goicolea, video is a natural extension of his photography, allowing him to put into motion the characters he photographs. The artist elaborates on the benefits of this time-based medium, “I am interested in using this element to chronicle the gestation period of progressive states which ultimately end in destructive or absurd predicaments.”