The still must tease with the promise of a story the viewer of it itches to be told.

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.

If I knew what the picture was going to be like I wouldn’t make it. It was almost like it was made already – the challenge is more about trying to make what you can’t think of.

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.

I like making images that from a distance seem kind of seductive, colorful, luscious and engaging, and then you realize what you're looking at is something totally opposite. It seems boring to me to pursue the typical idea of beauty, because that is the easiest and the most obvious way to see the world. It's more challenging to look at the other side.

I want[ed] to make a show of really big pictures, because you see male artists doing it all the time. It just seemed like such a big egotistical thing. I thought, 'I don't know that many women that really do that.... Damn it, I'm gonna do that-make this really big picture.'

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