I Wanted To Create Something That People

So Many Things Suddenly Made Sense For The Clowns, For The Whole Idea. I’d Been Going Through A Struggle, Particularly After 9/11; I Couldn’t Figure Out What I Wanted To Say. I Still Wanted The Work To Be The Same Kind Of Mixture – Intense, With A Nasty Side Or An Ugly Side, But Also With A Real Pathos About The Characters – And Clowns Have An Underlying Sense Of Sadness While They’re Trying To Cheer People Up. Clowns Are Sad, But They’re Also Psychotically, Hysterically Happy.

I Want[ed] To Make A Show Of Really Big Pictures, Because You See Male Artists Doing It All The Time. It Just Seemed Like Such A Big Egotistical Thing. I Thought, 'i Don't Know That Many Women That Really Do That.... Damn It, I'm Gonna Do That-make This Really Big Picture.'

In Horror Stories Or In Fairy Tales, The Fascination With The Morbid Is Also, At Least For Me, A Way To Prepare For The Unthinkable… That’s Why It’s Very Important For Me To Show The Artificiality Of It All, Because The Real Horrors Of The World Are Unmatchable, And They’re Too Profound. It’s Much Easier To Absorb – To Be Entertained By It, But Also To Let It Affect You Psychologically – If It’s Done In A Fake, Humorous, Artificial Way.

I Was Supporting Myself, But Nothing Like The Guy Painters, As I Refer To Them. I Always Resented That Actually.. We Were All Getting The Same Amount Of Press, But They Were Going Gangbusters With Sales.

I'm Good At Using My Face As A Canvas… I'll See A Photograph Of A Character And Try To Copy Them On To My Face. I Think I'm Really Observant, And Thinking How A Person Is Put Together, Seeing Them On The Street And Noticing Subtle Things About Them That Make Them Who They Are.