Being able to make a living doing something one truly loves to do - is my definition of success.

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 didn't have any interest in traditional art.

I don't analyze what I'm doing. I've read convincing interpretations of my work, and sometimes I've noticed something that I wasn't aware of, but I think, at this point, people read into my work out of habit. Or I'm just very, very smart.

[My work is] maybe about me maybe not wanting to be me and wanting to be all these other characters. Or at least try them on.

I'd never even thought about compromise when I worked in my studio. The major distinction is in the priority of who I ultimately wanted to please: myself or the audience.

The work is what it is and hopefully it's seen as feminist work, or feminist-advised work, but I'm not going to go around espousing theoretical bullshit about feminist stuff.