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  • I suppose I felt doomed to be an artist early on because of the way I drew all over the books that I needed for school, from ancient history to math. I was more interested in drawing in the margins than actually doing the work.

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I suppose I felt doomed to be an artist early on because of the way I drew all over the books that I needed for school, from ancient history to math. I was more interested in drawing in the margins than actually doing the work.

When I showed ‘Black and the Red III’ in Malmö, Sweden, it was a continuum - a band - all around the galleryseeing this huge space in the gallery in Malmö, I just took a deep breath and I put the paper around in a single band. Then I continued along, printing on the wall like a trompe l’oeil to reiterate the images in the work printed on paper that I had push-pinned to the wall. I literally took the rhythm and the images from ‘Black and the Red III’ and continued that on the wall.
Having a book is somewhat like having a baby, as many woman writers have observed before me: the conception, the long preparation, the wait, the growing heaviness (not of body in this case but of the spirit and the manuscript) toward the end, the initial delight at the sight of the product, fully formed and seemingly perfect, and then the usual postpartum depression. What will people whose opinion I care about, and those whose views I don't value but have weight in the world of reader, think of it?

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