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.

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

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.

Believing in one’s own art becomes harder and harder when the public response grows fonder.

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.

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.'

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.