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  • Having a boy play a girl (and when I say 'play a girl' I don't mean that he is represented as a girl, because he is represented as a young man) is complicated. He knows he's looking at photographs of a girl and copying those poses. So the audience sees him as a man, but he can only see himself as a woman, because that's the model he's looking at. It was a really interesting exchange.

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Having a boy play a girl (and when I say 'play a girl' I don't mean that he is represented as a girl, because he is represented as a young man) is complicated. He knows he's looking at photographs of a girl and copying those poses. So the audience sees him as a man, but he can only see himself as a woman, because that's the model he's looking at. It was a really interesting exchange.

I made the first 'Blumen' picture after looking at Robert Mapplethorpe's Pictures book. I was struck by how much freedom Mapplethorpe was able to extract from his model's restraint-that in tying up and cropping his models, he appears to be able to work with people as forms. I never thought about my flowers as related to his (which I saw as annoyingly erotic); I thought of them in relationship to bondage. I wanted to make the flowers more aggressive and ironic and less docile and sensual.
I quit my day job the day my daughter was born. I remember flying to Cleveland and hitting a thunderstorm, which caused the plane to lose pressure, and the oxygen masks fell from the ceiling. We felt the plane dropping; the pilot was taking it down to regain cabin pressure. My heart was in my stomach. I found out after landing that her mom was in labor. I did the show and came back to New York. By the time I walked into the hospital, my daughter was being born. She was waiting for me. She's a sweet daddy's girl. She's premed. She has her own pie company. She works for Habitat for Humanity.

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