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Mon tout premier souvenir d’enfance, c’était de m’être réveillée au milieu de la nuit avec cette intense vision. J’avais vu un roi assis sur un trône, portant une haute couronne parée de joyaux; il y avait beaucoup de couleurs sombres.
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My very earliest memory as a child was of waking up in the middle of the night with this just intense vision. I had seen a king sitting on a throne with a deep jewelled crown and all these dark colors. Actually when I think back to it it’s kind of like a Rouault painting very intense and dark…not really the kind of thing you’d think of when you’re three or four years old as children’s colors. But it was so rich and beautiful I just got out of bed and had to go and try and draw it with my crayons, which was a very frustrating effort - it really didn’t come out anything like my ideas. Then my mom came out and said, "What the heck are you doing up at this time of night," and chased me back to bed. But I basically continued that all the rest of my life. I’ve been trying to learn the skills to make the visions in my head visible. I keep seeing things that I want to see in real life, so I’ve put a lot of effort into learning technical skills in order to really reproduce what I imagine. When I was growing up we didn’t have the Internet so in order to learn about painting you really just had to try and figure it out for yourself to a large extent. And that’s actually still true today to some degree because the generation of people of my age who are now teachers in institutions, they all came up in a time when technical instruction was pretty much thrown out the window. Everybody had this idea that you should just be free and play with paint and somehow you’d magically develop something completely new and original by ignoring everything that had gone before. And I’ve always felt that that works fine for some things, but it doesn’t work if you’re trying to capture a sense of reality in the imagery.
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Lors de l’une de mes excursions à la campagne…je me suis souvenu avoir vu un groupe de silos ensemble et en m’en approchant d’avoir pensé que de la façon qu’ils étaient espacés et placés l’un à côté de l’autre, et parce qu’il y avait des dépendances qui y accolées, on aurait presque dit une pyramide.
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…I mean its been known for lots of years, a long time, that these symbols of the prairies are disappearing - the grain elevator. And I had been well, I guess in one of my travels in the countryside or something like that …I just remembered seeing a group of elevators together and as I was approaching them thinking that the way they were spaced and placed next to one another, because there would be out buildings and then you would have the things, and it almost looked like a pyramid. And I thought - and that was actually something that I just stored in my head. I had probably seen it years before and I had always kept it in the back of my mind and somehow…how can you use this? And then the opportunity came up to be able to do it. It’s mostly again about not only the fact that the elevators are disappearing, it’s going to disappear completely - there will always be a rural Saskatchewan. There will always be a rural Oklahoma, a rural France. But the fact is that it is changing and parts of it are disappearing. And what will inevitably happen is they are going to save one grain elevator - the old style grain elevator - and have it as a historic monument because they are all going to be those inland terminals which have the potential of being something in the future for somebody. But it was mostly about that and, I mean, I just like the idea of the pyramid and that sort of thing. You know how the pyramids have had such longevity, something that has been around for thousands of years but the knowledge that the grain elevator will probably not be around for thousands of years.
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Je crois avoir une sensibilité très théâtrale, quelque soit le sens de cette expression. Je crois être attirée par le côté sombre, lourd, des choses. Quiconque a vu un film de Fassbinder saura de quoi je parle, ou de Werner Herzog. Mon âme appartient au drame…ça, c’est certain.
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I do believe I have a very dramatic sensibility, whatever that means. But I think I really do tend to go to the dark side, the heavy side. Anybody who’s seen a Fassbinder movie will know what I’m talking about, Werner Herzog. I tend to really, really go…my soul is in drama, there’s no question about that. I think the biggest influence on me as a painter is film, has been film. I have read a lot of biographies, autobiographies of film-makers. I see everything that comes out. I am the number one renter from Blockbuster, in the 8th Street store. But I also…a lot of my work has been based on silent film. I have a silent film collection, which is my husband’s of course, but I’ve seen it too. A lot of investigation into things like film noir, the camera angles, the lighting. So that would be my biggest influence. I think my second-biggest influence is probably the Baroque period of painting. People like Velasquez, Goya, Gruenwald, I don’t know if they’re all Baroque, I can’t remember. Highly influenced by early German Expressionist painting, and then the Germans who came in the eighties were a real inspiration for me.