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I’m now working with computer systems and elaborate projections, and I’m working with the imagery of dead bodies from Syria. But the way I understand composition and form and my ability to enter into material all comes from my disciplines and my commitment as a painter—my energy, my arm, my eyes, my sense of space and form and time. It’s a wonderful realm for me. I never leave it.
It was also used against the seriousness of the work, you know: If she's so sexy and so attractive, the work has got to be kind of stupid; or it can't be as smart as she wants us to imagine it is. And it occurred to me that watching [Louise] Nevelson and other artists who had been exotic or beautiful that so long as male culture felt they wanted to fuck this female, her work was always going to be denigrated and marginalized. And when she got old and they didn't feel that sexual confusion, oh, they might look at the work more clearly.
No, because they’d trash my house. They’d burn down my barn. They’d chop down my trees. They might even think they should rape me. My work is all about forbidden aspects of the female experience. If I have a piece that says “blood” or “vagina” or “intercourse” or “sex,” that would have no deeper meaning to them than to be provocative. And it’s very dangerous for a woman living alone in the countryside.