We're all products of what we want to project to the world. Even people who don't spend any time, or think they don't, on preparing themselves for the world out there - I think that ultimately they have for their whole lives groomed themselves to be a certain way, to present a face to the world.
The still must tease with the promise of a story the viewer of it itches to be told.
I feel I'm anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear.
I'm really just using the mirror to summon something I don't even know until I see it.
Everyone thinks these are self-portraits but they aren't meant to be. I just use myself as a model because I know I can push myself to extremes, make each shot as ugly or goofy or silly as possible.
People assume that a self-portrait is narcissistic and you're trying to reveal something about yourself: fantasies or autobiographical information. In fact, none of my work is about me or my private life.
I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them. But I don't want to have my own narrative and force it on to them.
I have had a lifelong fascination with horror movies, scary movies, how they work.
Inconsiderate, rude behavior drives me nuts. And I guess the inconsiderate rudeness of social ineptitude definitely fuels my work.
People think because it's photography it's not worth as much, and because it's a woman artist, you're still not getting as much - there's still definitely that happening. I'm still really competitive when it comes to, I guess, the male painters and male artists. I still think that's really unfair.
I didn't have any interest in traditional art.
I think people are more apt to believe photographs, especially if it's something fantastic. They're willing to be more gullible. Sometimes they want fantasy.
Every time you have to come up with a new body of work for a new show, you're aware that people are just ready to rip you apart, they're just waiting for you to fall or make the slightest trip up.
I realised that in my last two bodies of work - the mural and the Chanel pieces - that I didn't use any make-up because I was changing the faces digitally, and I realised I missed make-up in a major way.
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.
I think I always resented the fact that people thought I was trying to entertain them with my multifaceted, chameleonlike character changes. Although I liked doing that, I wasn't out to fool people and say 'Guess which one is me.'
The more horrific works came out of a feeling that everyone accepted my stuff too easily. I was deliberately trying to be antagonistic towards collectors and critics.
I always need to get away from whatever it is I've just finished, to feel a distance from it.
My dad was such a bigot. He was a horrible, self-centred person. He was really racist and he'd talk about the Jews and blacks and Catholics even.
As I was looking through a book about German Expressionist films and their stars, it all came together because of the extreme way actors made their faces up in those early day of film in order to pop out in the black-and-white. I just wanted to use makeup in the same way, partly perhaps because as women get older, they're told to wear less makeup.
